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KAREN SHADE World Scene Writer 05/30/2005 Tulsa World (Final Home Edition)
When lights go up, Ida (Claudia Teipel Sanders) is in a rush to answer the front door. Seconds later, one of her two closest friends, Lucille (Jan Simpson) tears through the front door in gold lame, little black dress, mink coat and a New-Yawk accent to match her fuchsia-laced tiger-striped clutch. Next at the door bell is Doris (Karyn Lee Maio), Ida's other closest friend, dressed as if she's in mourning: gray dress, black shoes, black calf-length coat and sensible black bag. Ida is somewhere in the middle of her friends the one who dresses casually, who likes color and comfort and is probably the first to volunteer when her local women's organization needs dozens and dozens of cookies for a fundraiser. Most of us know a Lucille or a Doris, but we all know Ida. We've just caught this bunch on their way to visit the cemetery where their husbands are buried, but it isn't a clean getaway. Lucille picks on Ida for not "playing the field" as she does and draws sarcasm from Doris when she gives her the same lecture. Lucille sees no reason to grieve for her husband, Harry, who she knew started cheating on her with younger and younger women when the flower bouquets became more elaborate and expensive. Doris hasn't moved on. On the fourth anniversary of her Abe's death, she's prepared to throw herself on his grave and declare she is ready to join him. It's quite funny to watch. Again, Ida is in the middle. She misses Murray but is no longer willing to stand still as she contemplates a new relationship. In steps Sam, a butcher, and despite Lucille's early flirtations, he and Ida connect. Doris disapproves of any new relationship that interferes with the monthly rounds at the cemetery. Outrageous Lucille and mostly-grumpy Doris duke it out with words often enough. Simpson and Maio definitely hit the spirits of their characters right, but some of the best moments in "The Cemetery Club" include all three women. The second scene in the second act, perhaps the strongest, gives the audience a great example of actors deeply invested in their parts. After returning from a friend's umpteenth wedding, the three bridesmaids return to Ida's home already tipsy and are ready to toast again with stolen cargo Lucille sneaks out with a bottle of wine and Doris, let's just say, makes a lot of room in her hand bag when she's feeling happy. Ida, the natural balance between her two friends, bridges even this buzzing moment (which includes dancing), and when she is unsteadied, all three fall from their high, especially Lucille. Drama steps in, and the scene takes a strong turn. Ida's reaction to Sam's confession in the second act is reminiscent of Diane Keaton from "Something's Gotta Give" and is wonderful and seemless, and Maio's often deadpan delivery works for Doris' jabs "You don't want to be alone? You buy a dog, not an Italian." But it's Simpson, who almost pushes Lucille over the top at times, you will remember most. She keeps her character on the right side of believability while giving us "Cemetery's" most spirited character. Sanders and Marc Sherman have a great rapport and moment as Ida and Sam find some time for a private chat about losing their spouses and what comes next. Priscilla Mayfield also has a brief appearance as Sam's too-giggly, too-chatty wedding date, Mildred. Most of the show is set in Ida's home. Set designer Ron Hildebrandt created a realistic interior setting that works well for the Williams' stage. It is as easily open for viewers as the cemetery at stage left, complete with skyline in the background and the sounds of passing jets. It is in the cemetery, however, as each woman stands alone at her husbands grave, that Lucille's back is to the audience. And, although Simpson has no trouble projecting her voice without aid of a sound system, the echo picked up as her voice travels to the back of the stage and then to the audience is a little distracting. Neither can the audience see her face as she's berating Harry for his bad, bad ways in life and mocking him for the mink coat he had just bought her. The actresses also lose some of their momentum and timing apart from one another. There is also a moment of discovery in Ida's home on the stairs that I wished I'd been able to see a reaction that begged to be read but the area wasn't lit well, and that's too bad. Most of the technical glitches during Friday's invitation dress rehearsal performance were lighting and sound snags that will probably be fixed before this article even appears, but there were also a few line misfires, particularly by Simpson and Maio. A few times I wondered if Doris might be from Ireland although I knew she was Jewish. But small blunders are forgiveable and mostly forgettable when you watch Doris pull chicken wings from her purse while Sanders adjusts her obvious wig and as sweet Ida tears down Sam's date in her uninhibited drunkenness. "The Cemetery Club" will play at 8 p.m. Thursday through Friday at John H. Williams Theater in the Tulsa Performing Arts Center, Second Street and Cincinnati Avenue. Tickets are $15 adults, $13 seniors and $7 for students with group rates available. PAC Ticket office, 596-7111, www.tulsapac.com. Karen Shade 581-8334 karen.shade@tulsaworld.com | ||||||
