Christine Alton
“You Can’t Take It With You” was a hit for most of its opening night audience, which laughed heartily when it was supposed to, but also found meaning in the heartfelt, serious moments as well.
As a whole, the play was generally good, well written and acted. The eye-catching set was absolutely stunning. It felt like my ultra-rich grandmother’s living room, with a very homey vibe.
Set in the living room of a New York home in 1936, the play starts off slow, but surprisingly picks up with more hilarity in the second act. It had its funny moments but some tended to be a little too obvious and slap sticky.
The best parts were the ones that were a little more subtle. Pay attention to character lines and small set adjustments throughout the show.
A picture hanging on the wall right outside the kitchen door fell numerous times, causing bits of laughter from the crowd. Planned or not, it was funny just the same. It’s the little quips and minor attention to detail that make it more entertaining.
This is my third small-stage play to review and it was different in theme and complexity of the cast. The actors generally brought each of the 18 roles to life.
My favorite character was Alice Sycamore, played by 19-year-old Kayla Radin, one of the daughters in this crazy family with a sarcastic tongue like no other. Her witty yet subtle remarks were just what the script needed in the humor department. She gave the play the sense of normalcy and reality it was lacking.
The audience also took a particular liking to Grandpa, played by Bill Walsh. He also tended to have those subtle yet humorous lines. As most grandparents are, he was the wonderful voice of reason and compassion.
Walsh’s “words of wisdom” brought the play to life. He was the focus of attention, without being blatant. Modesty was the best policy for this character.
Some characters seemed random, but none the less added some personality to the play. Gay Wellington, a drunken “actress,” played by Nina Camlett was a hilarious addition to the scenery.
The booming Russian antics of Boris Kolenkhov, the dance instructor, played by David Ritterband, were stereotypical, but in a non-offensive way, adding a touch of slapstick to the play.
A Russian Duchess-turned-waitress, Olga, played by Melissa Roggenkamp was another funny role. Her accent was a little off, but she complemented Kolenkhov gracefully.
The mother and father characters of Paul and Penelope Sycamore, played by Robert Gribbin and Marcia Kassan, were silly parents that truly cared for their children. Kassan played the “dumb and innocent” act wonderfully and executed her comedic lines eloquently.
The ridiculously wealthy parents Mr. and Mrs. Kirby played by Mark Hein and Jo-Ann Shapiro were snooty but fit their parts. Their son, Tony, played by Patrick Rogers, was a sharp-dressed cute young man that portrayed his feelings for Alice gaily. He had a presence about him that made the audience fall in love with his boyish charm.
More performances were not as well-acted with a less than average approval of mine. Some were just annoying, but important to the script and the flow of the play.
Essie, Alice’s sister, and her husband Ed, played by Marissa Madison and Jonny Kurzfeld played flamboyant and partly irritating roles.
Essie constantly dances while Ed played the xylophone. Their characters were crucial to the story, but a little over acted. It might have been unintentional, possibly was a writer flaw.
It’s open to interpretation.
The side-kick role of Mr. De Pinna, played by Roger Ritenour was another queer concept to the play. He is a supporting character and his humor is a little too obvious.
The family maid, and her boyfriend, played by Josephine Jackson and Ke Andre Bell-Washington, had some funny remarks but Bell-Washington crossed the line from humor into downright irritation. Jackson, on the other hand, kept up the facade of the funny black maid loyal to home and family.
Three government men, played by Scott Johnston, Jack Veigel and Hector Lerma had minor parts necessary to tell the story.
Some of the humor is more likely to be appreciated by an older audience. Some commentary only a person who has “been around the block” a few times can catch.
At times, it is very silly and pokes fun at different aspects of life. Someone is always embarrassed by their relatives, but the play shows their importance. Anyone with a large family of crazies can truly relate.
The script also portrayed dating and politics in a more humorous light. Watch out, there is a lesson snuck in here and there, especially at the end. Overall, it has a moral and a value that brought the entire play together.
Despite its being a comedy, “You Can’t Take It With You,” definitely has a moral. Everyone has a family, like them or not, this play teaches you a valuable lesson in happiness, life and laughing at yourself.