The Lakeside Little Theatre (LLT) production of “The Boy Friend” could have been trite, predictable, one-dimensional and silly – and it was. Nonetheless, its very lack of dimension and conflict made it a ton of fun for an appreciative audience.
The work, with words and music by Sandy Wilson, parodies the musical comedies of the 1920s. This one is set in that era on the French Riviera, where pretty and rich kids frolick on the sands of Nice.
Since the young people in the play are all supposed to be about 17 years old (the members of the cast were all a tad older than that), director Allen McGill wrote an additional scene in which the “road manager” lets it be known that this is a road show cast and they have all contracted for the run of the show that has become the longest running road show ever. It was clever but at the end of the day, possibly not necessary. Again, the play’s lack of depth somehow made the advanced ages of the players a wash – completely unnoticeable almost from the beginning.
Sweet and winsome, the “perfect young ladies,” played by Alexis Hoff (also the choreographer), Judy McKinnon, Tina Jones, Catherine Huff and Gale Bildfell, were perky and bright. Another of “Dubonnet’s” students, in the ingénue role of Polly Browne, Helena Feldstein, used all the tricks of musical comedy stage of that era, with large facial expressions, cunning body language and a notable singing voice. She was a good choice for the role.
The boyfriends (or wannabe boyfriends) were aptly played by Keith Scott, Greg Clarke, Gary E. Keeler and Kevin O’Byrne. Tony, Polly’s love interest, was played by Vicente Vernon, who, in his first appearance for LLT, was more than acceptable and we’re looking forward to more.
Jeritza McCarter, whose comedic timing is consistently on the button, pulled of her character role as the bawdy maid “Hortense” with high energy and verve. Another LLT regular of whom Lakeside audiences never tire is Ray Himmelman. This time he excelled himself as the lecherous “Lord Brockurst,” drifting in and out of scenes (never mind – he just plain stole them and we all loved it). Peggy Lord Chilton, who played Lady Brockhurst, pulled it off with dignity.
Betty Robinson as the owner and headmistress of “Madame Dubonnet’s Finishing School” was nothing short of endearing and her foil/long lost love interest, “Percival Browne,” was played by Pat Carroll, who managed the swing from the blustering businessman to a starry-eyed lover beautifully.
The production sported a specialty dance, a tango performed by Flemming Halby and Graciela Ducet. In the background, but not out of the picture, were Jerry McDonald (the stage manager for the production) as a “gendarme” and Don Chaloner as a waiter. Ken Yakiwchuk played the road manger explaining the ages of the actors.
The music (and there is a lot in this production) was directed by Richard Stromberg, who squeezed the best out of his players. They were accompanied by the very accomplished Eleanor Stromberg on the piano.
The assistant stage manager was Jan Feise. The sets were designed by Bob Coull and constructed by Alex Pinkerton, Russell Moore, David White, George Buckingham and Richard Bansbach. Set decoration was by Betty Parker, Jim Parker, Donna Jaramillo-Leone and Barbara Whilldin. Emma Bergh-Apton designed the sound that was operated by Doug Friend. Lighting design was by Jerry Hathaway and operated by Zane Pumiglia. Les Sasvari operated the follow spot light. Also on the lighting crew were Sheilah Dwyer, Brad Dobko and Richard Roche.
Trish Conner and Mary Ann Molinari were in charge of properties (and wigs) and Doreen Chaloner was the make-up coordinator with her crew, Maxcine Tate, Trudy Levenberger, Diana Rowland and Stella Lake.
The extensive and impressive wardrobe was designed by Grace Holman.
Congratulations and thanks to all those involved with this production for their countless hours of devotion bringing so much fun to the Lakeside community.
“The Boy Friend” runs through Tuesday, March 9. Next up at LLT is the last offering of its 45th season, “Cash on Delivery” by Michael Cooney, directed by Bob Coull, opening on April 3.
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