By Ruth Ross
A fellow theatergoer described British playwright Joe Orton's What the Butler Saw as English farce plus the French Theatre of the Absurd raised to the 10th power. I couldn't agree more. Now onstage at the Shakespeare Theatre of New Jersey in Madison, this racy farce will have your head spinning with multiple costume changes, mistaken identities, slamming doors—even a near-naked man racing across the stage!
Considered quite shocking when it was first produced in 1969, What the Butler Saw seems quite tame today. Despite its racy talk, adult subject matter and partial (and in one case almost complete) undress, it poses the question, Who is mad, and proves that “in a madhouse, unusual behavior is the order of the day.”
The combination of farce and Theatre of the Absurd requires a steady, albeit light, directorial touch, and Paul Mullins keeps the action barreling along and the insane ravings of the characters sounding almost natural. Nevertheless, the second act dragged a bit, and I found myself checking my watch from time to time.
While incest, buggery, seduction, misogyny and rape can be offensive to modern audiences, Artistic Director Bonnie J. Monte noted that What the Butler Saw provides “the perfect comedic response to our current world, one in which we find ourselves questioning our sanity or that of others on a daily basis.” Joe Orton presciently depicted the mayhem that can result when those in power act in an insane manner and twist the truth to fit their own ends—a point not lost on us today.
This is the dilemma facing Leslie in Foster Mom by Chris Cragin-Day and winner of Premiere Stages’ 2017 Play Festival. In an emotionally honest performance, Ariel Woodiwiss’ character (left) takes us on a poignant journey that threatens to upend her relationship with her recently widowed mother Sarah and a budding one with techie Josh. Add to this blunt, no-nonsense social work Sophie and you end up with a polished, authentic, engrossing production that rounds out a stellar season for the Kean University theatre.
ragin-Day’s credit that there is no pat happy ending to this dilemma. All the characters behave in totally natural ways as the plot moves inexorably along to what is, at best, a hopeful dénouement. The production’s success is the result of steady direction by Kel Haney that never lets the actors descend into melodrama as they grapple with Leslie’s decision, and the natural, convincing performances of a quartet of gifted actors.
Much of the play’s humor comes from the mouth of Sarah, played to perfection by Kate Kearney-Patch (left, withKurt Uy). Anxious to bring her daughter and Josh together, she drolly tries to entice him into her scheme. But that light bantering evaporates when she grapples with Leslie’s unexpected news about fostering and lets down her jokey guard to reveal a secret that brings her and her daughter close. By the final scene, she’s more lighthearted, optimistic and supportive of her daughter.
Stori Ayers’ Sophie has a much harder time gaining our sympathy. Blunt, officious, her character seems to be placing roadblocks in Leslie’s path during the opening interview. She’s not very encouraging to this young woman about to take a major leap of faith. But Ayers (right, with Woodiwiss) nails the character, even exposing a vulnerability that changes the way we (and Leslie) feel toward her. She may not become immediately warm and fuzzy, but she adds complexity to what could be a two-dimensional character.
Sept 17: American Theater Group
The Curious Case of a Casual Terrorist