The Man Who Came to Dinner
Reviewed by Iris Mann
The Group Rep
Through January 12
RECOMMENDED
This production of The Man Who Came to Dinner is Group Rep’s holiday gift to Los Angeles audiences, unwinding like a finely tuned instrument with cleverly coordinated moving parts.
Written in 1939 by George S. Kaufman and Moss Hart, The Man Who Came to Dinner is crafted as plays were during that period, with three acts and a cast numbering more than 30 actors. Despite its outdated elements, this improbable tale of a houseguest from hell remains entertaining, particularly with its sendup of celebrity worship and its contrast between larger-than-life characters and more down-to-earth, everyday people. Also, the action is replete with amusing intrigues, romance, jealousy and clever one-liners that come fast and furious yet still pack a powerful punch. Director Bruce Kimmel has skillfully established the madcap pace the material calls for. Under his sure hand, the proceedings, far-fetched though they may be, are hilariously funny.
The story is set in the small town of Mesalia, Ohio, during the 1939 Christmas season. The well-to-do Stanley family has invited noted radio personality, critic and professional wit, Sheridan Whiteside, called Sherry (Jim Beaver), to dine with them. Sherry inspires awe and admiration in the Stanleys and the townspeople. But all does not go as planned. Entering the house, Sherry slips on the ice and purportedly suffers a severe fracture. As a result, he becomes a long-term guest, who proves to be a tyrannical, ungrateful and insufferable lodger. He is aptly described by his secretary, Maggie (Hartley Powers) as a selfish, petty, self-centered egomaniac.
And Beaver’s Sherry lives up to that description. He delivers his one-line zingers with aplomb and is every inch the guest one loves to hate. He insults nearly everyone with whom he comes in contact — at one point, he says of his physician, “Doctor Bradley (Fox Carney) is the world’s greatest argument for mercy killing.” He amasses huge telephone bills and welcomes a series of oddball guests, including some paroled convicts, an insect specialist who brings him a cockroach colony, and a Hollywood comedian named Banjo (played last weekend by Michael Gabiano), who is the incarnation of Harpo Marx. Gabiano goes over the top in the most delightful way. His expansive performance approaches the very limit of foolishness and ends with a flourish in a Jimmy Durante imitation.
Other performances are equally superlative. Striking the right balance between a naturalistic reality and a heightened comedic level can be difficult, but as Sherry’s saucy secretary, Powers conquers the challenge admirably: She stands up to her employer and gives as good as she gets. Kay Cole is a hoot as Sherry’s jittery nurse — her silent takes in the face of Sherry’s put-downs are priceless. And Doug Haverty, who plays the man of the house, owns his role, while Michele Bernath is amusing as his loony sister who dances awkwardly in and out her scenes.
As playwright/performer Beverly Carlton, a character reminiscent of Noel Coward, Chris Winfield oozes sophisticated artifice, and half talks, half sings his musical number with just the right touch. Winfield also created the beautifully-appointed set, highlighted by warm, dark colors and an inviting Christmas tree. His design conveys a sense of the time, the place and the season. The same can be said of Michael Mullen’s costume design, which is particularly appropriate to the period.
The Lonny Chapman Theatre, 10900 Burbank Blvd., North Hollywood; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; through Jan. 12. (818) 763-5990 or www.thegrouprep.com. Running time: approximately two hours with two intermissions.
