Por Charlene Baldridge
Crítico de Teatro SDUN

The title of Marc Camoletti’s 1960 French farce, “Boeing-Boeing” (playing on the Old Globe’s Donald and Darlene Shiley Stage through April 18), refers to the air transport manufacturer. Translated by Beverley Cross, the frivolous sex comedy played more than 2,000 performances in London, and though the 1965 Broadway production endured less than a month, it became a 1965 film with Tony Curtis and Jerry Lewis.

As directed by Matthew Warchus in 2008, the revival had a respectable Broadway run, garnering numerous Tony Award nominations and two statuettes, one for best revival of a play and another for British actor Mark Rylance, who played the triple-timing leading man, Bernard. The action takes place in his Paris apartment.

“Boeing-Boeing” might also refer to the sexual escapades of Bernard (Rob Breckenridge), who remains stationary, though he bounces between his three mini-skirted “fiancées.” Each is a flight attendant whose schedule he meticulously tracks. Lest one worry about keeping the “girls” straight, they are color-coded. Blonde Gloria (Liv Rooth), who eats ketchup on her pancakes, is an American and wears pink. Dark-haired Gabriella (Stephanie Fieger), her jets spewing sparks, is Italian and wears blue. Bossy Gretchen (Caralyn Koslowski), a Teutonic Valkyrie, wears yellow. Following Warchus’ direction of the West End and Broadway revivals, Mark Schneider stages the madcap farce, in which timing is everything.

The schedule, abetted by Berthe, Bernard’s maid (Nancy Robinette), begins to go awry with the arrival of Robert (Joseph Urla), Bernard’s old school friend, who declares the situation “a bit of a change from Wisconsin.” Gloria departs after the first scene, then returns unexpectedly due to turbulence. Turbulence ensues until Bernard, Robert and Berthe are juggling three fiancées, who just miss each other through numerous slamming doors that line Bernard’s sparkling, color-coordinated sitting room. Urla is exceptional as Robert, the Midwestern naïf who winds up in a lengthy and hilarious sauerkraut dialogue with the magnificent, extremely funny Koslowski.

There are better farces and the other actors are fine, though all seem impeded by their several accents. The listener’s ear and brain are challenged to keep adapting due to the frantic pace. That having been said, it’s a beautiful sight and an enjoyable romp.
Everything about the physical production meets the Globe’s high standards. Rob Howell designs both set and costumes, with lighting by Chris Rynne and original sound design by Simon Baker, effected here by Paul Peterson. Claire van Kampen provides original music.

Through April 18
7 p.m. Sundays, Tuesdays and Wednesdays
8 p.m. Thursdays through Saturdays
2 p.m. Saturdays and Sundays
Old Globe Theatre, Balboa Park
$29-$77
elviejoglobo.org
239-GLOBE