Por Charlene Baldridge | Crítico de Teatro SDUN
Fred, the landlord, one of the first victims and an entomologist in “She-Rantulas From Outer Space – in 3D,” should have seen it coming when precious, precocious little Suzie asks for her own “T” hat. The big red “T” stands for Tarrytown Tarantulas, but it is the hairy legs coming off the side that so fascinate the 7-year-old girl. Everyone should have known something was amiss when all the men in Tarrytown began to disappear. It’s all part of a plan to rid Earth of humans so the Arachnids—who are pretty indistinguishable from humans until they mature—can take over.
Based on 1950s end-of-the-world, space-invaders, space-abduction, fear-of-the-“other” films, the world-premiere play is co-written by Phil Johnson (Betty, Suzie’s blinkered mother) and Ruff Yeager (director). It is set in an apartment on Main Street in 1957 in a town awash with “post-war tranquility.”
In Diversionary’s gender-switching company are some of the city’s best farceurs: Andy Collins (Harry the randy handyman and Harriet the vamp), Melinda Gilb (Flora the Avon Lady and others), Fred Harlow (Fred and Freida) and Tony Houck (Suzie). Collins has perfected his leer, both female and male. He is dead-on when it comes to sexual repression. Johnson develops his most subtle and beset role so far. Like other women of her era, Betty’s modus operandi is “if we don’t see it, it isn’t there.” Betty’s mad scene, absolutely operatic, nearly destroying Chad Yeager’s period set, warrants a return trip.
Houck is masterful in tempo and pitch, especially as Suzie comes into her hairy maturity (maturity takes only eight years and her birthday party is a humdinger). Unsurprisingly, both Gilb and Harlow—masters at physical comedy—also inhabit the humanity of their characters, which makes the satire deeply funny.
Humanity, dedication and sincerity are the soul of farce, especially when the farce is melodramatic. Timing is all-important as well. The entire company gets that and it can only get better as the run matures (this review is based on the opening night performance of Nov. 2). All are supported by Jennifer Brawn-Gittings’ fabulous costumes, replete with crinolines and pointy-toe shoes, each funnier than the last; Peter Herman’s period wigs and hair ornaments; Alberto Alvarado’s makeup design; and Kevin Anthenill’s original music and sound. Walter Murray is fight director; David Medina, the prop designer and set dresser; and Luke Olson, the lighting designer.
As they say, it takes a village to raise a child. This one takes the cake in more ways than one.
When: 8 p.m. Thursdays – Saturdays, 2 p.m. Sundays, and 7 p.m. on Monday, Nov. 11 (special industry night performance) through Nov.17
Where: Diversionary Theatre, 4545 Park Blvd. (University Heights)
Info 619-220-0097
Web: diversionary.org
