Review: Three's Company in Garden Theatre's BOEING BOEING

There is a lot wrong with the central conceit of Marc Camoletti's farce BOEING BOEING, playing at the Garden Theatre through April 4th. Set in Paris in 1963, Bernard, an insatiable womanizer (likely with undiagnosed obsessive compulsive disorder) has figured out that the best way to reap the benefits of having three live-in fiancées without any of them knowing about each other is to only propose to flight attendants on conflicting schedules. From there, the jokes nearly write themselves as schedules change and weather delays departures. Directed by Keith Smith, the Garden Theatre's six-person cast bounces through the madcap comedy with an abundant joy, despite all of the outdated gender politics. BOEING BOEING, translated from the original French by Beverley Cross and Francis Evans, stands up well as a time-capsule from a different time with a different perspective, and if you can get past the show's uncomfortable premise, you are sure to enjoy its charming cast and taut direction.

As Bernard (Jim Walker) wishes his American fiancé Gloria (Laura Miller) goodbye, his nebbish college friend Robert (Alexander Mrazek) shows up unannounced, though it's never quite clear why. As soon as Gloria departs, Bernard shares his scheme with his friend, explaining that he synchronizes his love life with each airline's timetables. Soon his Italian fiancée Gabriella (Heather Delmotte) arrives for a layover, and the German Gretchen (Stacy Fulford) arrives ahead of schedule; you can imagine the panic that ensues. Helping Bernard manage the comings-and-goings of his various "air hostesses" is his long-suffering maid Berthe (Candy Marilyn Heller).

As things begin to unravel for Bernard, Robert and Berthe are left to keep all of the plates spinning. This allows Mrazek and Heller to display phenomenal comedic chops with each of the three fiancées, and especially with each other. Heller shines in a rather unsung role, making the most of each look and expression. Though Robert is initially as taken aback by the situation as the audience is, it is always Heller's Berthe who is the audience's touchstone to reality. Keep an eye on the porthole in the kitchen door for some of Heller's best work.

Robert who enters the apartment awkward and unassuming is forced to push his boundaries by his friend's unusual living situation. This character arc allows Mrazek to develop a surprisingly well-rounded character for a farce with a paper-thin plot. His exacerbated expressions alone are worth the trip to Winter Garden.

Like Robert, Bernard's metal changes substantially when his best laid plans go awry. From the swinging playboy, confident in the carefully researched "geometry" of his social life, to a flailing shell of his former self, Walker plays both extremes of his character for the utmost laughs. At his charming worst, you can understand why three beautiful women would fall for his deceptions; and as his plan, and ego, crumbles, you secretly delight in his downfall.

Speaking of Bernard's three beautiful women, all of the fiancées bring their own flare to the hackneyed representations of their native countries. Despite all drawing on well-worn stereotypes, none of the actresses allow their characters to become caricatures. Each gives their specific fiancée some room to breathe outside of their stock beginnings.

Miller's American Gloria appears to be the naïve mod ingénue that was popular at the time, but as Bernard and Robert learn, looks can be deceiving. Miller brings an infectious energy to the role that makes her even more dynamic when we learn that she might not be the inexperienced girl we think she is.

The fiery Gabriella embodies all of the passion and temper that you would expect from the cliché Italian. This allows Delmotte the chance to go from zero to 60 in no time at all. Though at times she reminded me of Celine Dion (don't ask me why), Delmotte wrung every last laugh out of her emotional character.

For me, Fulford, as the German Gretchen, was the most entertaining of the three stewardesses. Perhaps it is the contradiction of the straight-laced German being completely overwrought with conflicting emotions, but Fulford provided the night's heartiest belly laughs for me.

One of the most difficult aspects of creating a good farce is getting in sync the show's internal timing. Fortunately, Smith did a masterful job in keeping the show's tempo moving at an appropriately brisk clip, without ever allowing it to feel as if the on-stage mayhem was going to force the show off of its rails.

Equally admirable is Tom Mangieri's gorgeous set; effectively capturing the feel of the era, while providing the cast with plenty of nooks and crannies in which to play.

Unfortunately, even though I left the Garden Theatre thoroughly entertained, I couldn't help but feel a little sleazy for that fact. Perhaps it was because I had seen UCF's NINE (also about a serial philanderer) the night before, but it was difficult for me to get past the show's central conceit. Farces by definition must be littered with extremely flawed characters, that's what allows their humor to happen, but those flaws are usually of the general obliviousness variety, not a lack of human compassion, bordering sociopathy. Even Robert, the character with which we are supposed to sympathize, treats the women as nothing more than play things to be used and discarded when the fun wears out.

None of this is the fault of the cast, director, or design team, as they put together an incredibly enjoyable night of low comedy, but the national discussion on misogyny has changed so much since the 1960s, and even since 2008 when BOEING BOEING enjoyed a star-studded, Tony-winning revival.

Personally, I wish that I could have seen this incredibly talented cast and creative team take on another farce (like NOISES OFF, LEND ME A TENOR, or RUMORS to name a few) that didn't solely rely on the one-note joke of objectifying women.

That being typed, it is rare when all aspects of a production come together as seamlessly as they do in the Garden Theatre's production of BOEING BOEING; so despite my misgivings, I certainly recommend the show. To get your tickets to the show, visit their website or call 407-877-GRDN (4736).

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Did you take a flight back to the "swinging" 60s? If so, what did you think of BOEING BOEING? Am I being too hard on this silly comedy? Let me know in the comments below, or by "Liking" and following BWW Orlando on Facebook and Twitter using the buttons below. You can also chat with me about the show on Twitter @BWWMatt.

Photo Credit:
1) Stacy Fulford, Laura Miller, and Heather Delmotte | The Garden Theatre
2) Heather Delmotte, Jim Walker, Candy Marilyn Heller, Stacy Fulford, and Alexander Mrazek | The Garden Theatre
3) Stacy Fulford, Alexander Mrazek, Jim Walker, and Heather Delmotte | The Garden Theatre

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