Saturday, September 14, 1985

Honolulu Star-Bulletin

'Same Time, Next Year' a Winner at Army Theater

By John White

'Same Time, Next Year,' by Bernard Slade, is a contemporary bedroom comedy with a brilliant gimmick that not only moves the play at an entertaining pace, but gives it pleasing symmetry--and a wry, two-decade perspective on American's shifting social structure. Over the past 10 years, 'Same Time, Next Year' has played and replayed on many a stage, movie screen and television set.

So, it was a pleasant surprise to find, in the Army Hawaii Community Theater at Schofield Barracks, a production offering both fresh characterizations and new life. George and Doris--married, but not to each other--meet once a year at a northern California country inn to conduct an affair. The play covers 25 years in six scenes, each five years apart. During that time, George and Doris live through the guilt-ridden 50s, the liberating 60s and the self-oriented 70s, rediscovering one another in a series of annual one-night stands. We watch them grow and change, adopting and discarding fashions and vocabularies, each learning to live with the strangeness of loving two different people in two different ways.

Deboah Collins, as Doris, and Christopher J. Higgins, as George, are to be commended for quickly dispatching the ghosts of movie leads Alan Alda and Ellen Burstyn and subtly, skillfully recreating their characters. Faced with the additional difficult task of aging five years every 20 minutes, nptj cjaracters succeed in maintaining a strong continuity through their changes, a sympathetic core which is essential in dealing with the paradox of their situation: They're well-meaning people engaged in a potentially harmful relationship, with no intention of ending it.

Co-directors Jo and Jip Pruden have constructed a tipgh, concise production. Movement on the stage is sparse; wisely, the directors focus the audience's attention on the dialogue and let the play's structure infuse it with motion and energy.

Wayne Kischer's set is simple, functional and stable, changing only slightly with the passage of time. Pam See's costumes, which change rapidly and radically, are entertaining in their own right. Even the musical interludes between scenes are chronologically accurate, and the selections cleverly chosen.

Parts of the play have become dated, and the frankness of the language has lost much of the original impact in these days of Good Sex with Dr. Ruth on cable TV. Yet many of the phases through which the two characters pass are still part of the 80s inventory of passages: adult education, entrepreneurship, therapy, self-discovery, consciousness raising, estragement and reconciliation, and the acceptance of compromise, to name a few.

For this reason, as well as the excellence of the production, it's worth the drive to Wahiawa to see see the Army Hawaii Community Theater's production of 'Same Time, Next Year'--even if you've seen it many times, in many places, before.

Tuesday, September 17, 1985

Honolulu Advertiser

Cozy, comfortable 'Same Time, Next Year'

By Joseph T. Rozmiarek

There's a cosy, comfortable affair happening at Schofield Barracks as the Army Hawaii Community Theater presents 'Same Time, Next Year,' a two-character comedy of extra-marital fidelity by Bernard Slade.

The show is co-directed by the husband and wife team of Jo and Jip Pruden, who opt for a warm and gentle tone to help sell the message that a lifetime of one-night stands can lead to a warm and wonderful relationship--as long as they're with the same person. It's an old-fashioned message presented in an unusual context, and opens up two challenging acting opportunities in the roles of George and Doris.

The play begins in 1951, at an inn somewhere in northern California, on the morning after their first affair. George is a green and uncomfortable CPA, and Doris an uninspired housewife on her way to a religious retreat. Both are married--fairly happily--to other people. Their affair has been spontaneous and out of character, but each has found a soul mate. Unpredictably, they agree to meet again next year.

The annual weekend becomes a ritual, and during the rest of the play, we see George and Doris at five-year intervals over the next quarter-century. As they act out the passages in their lives, they also reflect the changes in their society. We see George overcome his insecurity, develop into a successful conservative, and discover psychology and self-analysis. Doris learns about a world beyond her kitchen, earns a college degree, and builds her own business.

In the process they ride out the rough spots in their marriages, experience the drug culture and the protest movement, and eventually develop a comfortable sense of self. They become a little older and a little wiser -- and give us the warm fuzzy hope that we all can do the same.

Slade tells the story as a comedy, and the serious moments provide a contrast, but never a serious threat.

Deborah Collins and Christopher J. Higgins carry the roles well and demonstrate a good acting range in the process. There's a lot of wide-eyed wonder in Collins' early scenes and a Kate Jackson flavor of squeaky innocence. The quality disappears as Doris grows into a laid-back flower child, and later a crisp businesswoman. Collins makes all the phases believable and under an assortment of wigs and costumes, could easily play several different women. Happily, she makes them all aspects of the same character and brings necessary continuity to the complex role.

Higgins has fewer physical props to work with, and few of Doris' external trappings, but takes his character through several definite internal changes. George the early bumbler gives way to an externally controlled and confident source of strength. The strength, however, does not come from within until George goes through yet another phase of questioning and self-discovery. Higgins manages the character changes with sure subtlety, and matures the role into a rounded and believable portrait.

Under the Prudens' direction, Collins and Higgins work well together, and despite some moments of slow pacing, sustain and build a character relationship that proves the theme of the play.

Wayne Kischer's set and Frank Hermann's lighting are well-designed and fully executed. Pam See's costumes for Doris are a repeated surprise and delight.

Wednesday, November 6, 1985

Honolulu Advertiser

'Godspell' may be old, but it's not outdated

By Joseph Rozmiarek

Somebody once said that unless you become like little children, you won't enter the kingdom of heaven. That good advice seems to be why 'Godspell' continues as a successful theater piece nearly 20 years after the idea of love rock musicals was fresh and popular.

The production at Schofield Barracks by the Army Hawaii Community Theatre gets off to a slow start, and reasons why it won't work start to come easily. Audiences have become too jaded to buy all the schmaltz. Young kids are growing up without having seen or heard of flower children. The Schofield cast is too far gone in years to effectively push this brand of bubble gum piety.

But the show makes diligent inroads into all these defenses. We start to give in when Bob Koehler enters as John the Baptist, singing "Prepare Ye the Way of the Lord." Koehler has a fine voice and a pleasant stage presence, and--best of all--begins to baptize the cast with watering cans, sponges and squirt guns. The costumes help, too--a collection of scraps and pieces that are bright, free and outrageous.

But the clincher is Phillip Floyd as Jesus. Floyd can't help but project innocence and good will. With this kind of central savior, we willingly give ourselves over to the spirit of the show and enter--if not heaven--a place that makes us feel better than ordinary.

'Godspell' is based on the Gospel according to St. Matthew and is filled with run-on parables presented vaudeville style. Music and lyrics by Stephen Schwartz are up-tempo and easy to take in the first act, turning more somber as the show's closing action parallels the Last Supper and Crucifixion.

Brad Powell's stage direction and choreography and Oliver Stone's musical direction keep the action moving, with plenty of clever visual bits and broad humor to add punch. The Good Samaritan, for instance, is a pair of fingers walking along a broomstick, while the entire cast becomes seeds that sprout or wither depending on where they fall.

There are takeoffs on the Marx Brothers, W. C. Fields, Joan Rivers, Jimmy Durante, the Three Stooges and others that happen almost faster than we can count. The cast makes all of it look fun and effortless, including the songs and dances. And while there are no real stars, some of the performances stand out.

Koehler is a strong player, both as John the Baptist and later as Judas. Paula Rainey has a belting voice and a flair for comedy that makes her a standout in several scenes and in her "Turn Back, O Man" solo. Beth Miller glows with warmth on "Day by Day." Wayne Kischer has a depreciating charm and Judi Turner is wired for energy every moment.

The best role, of course, goes to Floyd, and it is one of those happy instances of the right part and the right performer finally finding each other. Floyd has been in the background in a number of shows in Honolulu and takes the limelight here with good grace. His soft-shoe song and dance with Koehler is smooth and casual. He plays all the schtick in the routines with ease and assurance and carries the serious moments equally well. His singing voice is not strong, but adequate to the part. If anything, Floyd is almost too self-effacing for the central role. But then, that might me the best approach toward playing Jesus Christ.

Richard E. Steber's stage design sets chain-link fencing against a black background to create a junkyard playground that expands the small stage to seeming infinity. Frank Hermann's lighting adds to the effect, which makes for the most successful use of space in the Schofield theater for a long time.