Boeing Boeing
Reviewed by Emily Hawkins
German Efficiency Productions
Through August 4
Three stewardesses, two manic playboys, six doors and a sassy French maid form a recipe for an amusing farce. A German Efficiency Production now playing at the Complex, Marc Camoletti’s Boeing Boeing leaves audiences gasping, gawking and giggling. Betty Karlen’s tight direction keeps this plane in motion all the way through the final door slam.
To escape the monotony of monogamy, Parisienne playboy Bernard (Oscar Flemming) juggles three relationships with three different air hostesses: Gloria (Emilie Owen) the American, Gabriella (Celine Rosalie) the Italian, and Gretchen (Theresa Philomena) the German. With the assistance of his testy French maid Berthe (Katherine Fenger), Bernard keeps each of his loving fiancées blissfully unaware of the others. Of course, this is a recipe for a slip-up sooner rather than later. Bernard’s school friend Robert (Matt Torczon) arrives just in time to witness it and is reluctantly pulled into the scheme as the storm hits.
The ensemble’s precision allows the audience to hold on tight and enjoy the ride. Flemming’s suave yet frantic Parisienne manages to stay lovable despite his naughty antics, which are frequently challenged by the amusingly belligerent Fenger. Owen, Rosalie and Philomena capture the air of iconic 60s stewardess charm with comedic elegance (although it is Rosalie’s hot-tempered and seductive Italian manner that steals the show). Torczan enters the stage “guns blazing,” with energy and enthusiasm, effectively employing a scheme of frantic and nervous tactics to conceal his friend’s affairs, while simultaneously trying to advance his own love story.
This play is an updated Molière-type farce, banging doors and all. While the physical comedy is amusing, the set, designed by Matt Torczon, is as much a character as any of the actors, with swinging portals and precisely placed cushions thrown and plopped at just the right moments. The attention to detail in Tammie Merheb-Chavez and Nathan Davis costuming is exemplified in the bright yellow, blue, and red stewardess uniforms and the quaint French maid getup. These add to the production’s 1960s posh aesthetic. The lighting — by Jim Niedzialkoski (who also designed sound) — is simple yet effective.
Given the play was written over 50 years ago, it is understandable that some elements are now dated. Casual pats on the bum and lines such as “It’s the man who gives the orders” demand more than a little tolerance. On the other hand, the story does showcase commanding women who stir up a frenzy of emotion amongst their male counterparts, generating a delirium of amusement.
The Dorie Theatre at The Complex, 6476 Santa Monica Blvd., Hollywood; Fri.-Sat., 8 p.m.; Sun., 7 p.m.; through Aug. 4. (323) 363-7089 or https://boeingboeing.bpt.me. Running time: two hours with one 10-minute intermission.
