"BOEING BOEING" A LAUGH RIOT AT LCGRT

     If you are interested in a farce about a swinging bachelor juggling three fiancees make your way to the Group Repertory’s production of “Boeing Boeing” by Marc Camoletti at the Lonny Chapman Theatre running through April 13th.

     This high-flying, larger-than-life comedy set in the 1960's tells the story of Bernard and the three stewardesses engaged to him.   All is well until his friend Robert stays in his flat and a new faster Boeing jet disrupts his well-oiled romantic schedule. Then what was once order quickly turns into disarray.

       Winner of multiple 2008 Tony Awards and considered the most-performed French play in the world, it was also made into a 1965 film starring Jerry Lewis, Tony Curtis and Thelma Ritter.

         The play shines a light on polygamy, honesty in relationships and a person’s control of his or her choices, for better or worse, all in a frantic, fast-paced, yet controlled embryo.

          Yes, this play is funny, especially as it picks-up steam in the second and third acts.  But there is more, much more, here underscored by Camoletti’s ribald sense of humor and rhythmical cadence.

            The writing brings together the worlds of reality and farce, never teetering on one end too long.  It is direct, involved and just emotionally touching enough to be deeply comical.  

             The translation by Beverley Cross and Francis Evans is competent, full, creative and on-point.  We, the audience, are not left wondering about meaning, grammar, syntax or language.

             Larry Eisenberg’s direction is crisp, precise and intelligent.  It offers much in the way of believable, sensitive, yet highly farcical characters.  Eisenberg’s is a fascinating gift that continues to evolve as performer, director and artistic director full of giddy imagination and sparkling possibility.

              Here he helms a talented cast which includes:

               Vesna Tolomanoska (Gretchen) who in her second GRT appearance continues to display the “it” factor which makes her a most unique, compelling and rare find among actresses.  Her energy alone could light the Hollywood sign at midnight.

                 Jennifer Ross (Gloria) who especially in the third act brings a confidence, strength and zest to the proceedings which make the play that much more real, balanced and psychological.

                 Jenny Sue Johnson (Gabriella) makes her Los Angeles theatrical debut a memorable one.  Convincing and utterly believable as the Italian stewardess working for  Alitalia.  Johnson’s  timing does not falter and her accent never fades.  This is an actress at the top of her game at the right moment.   

     Paul Cady (Bernard) shows-off an innocence, vulnerability and charm that make his character hard not to like.  Cady’s frenetic energy, especially in the third act, lifts the show from mediocre to marvelous.

     Michele Bernath (Berthe) almost steals the show. Her wisdom, maturity and sarcastic, rye sense of humor are a delight for the entire evening.  Her portrayal is physically and comedically brilliant, never leaning on another character, but always shining her light sabre in the right direction.  Bernath may just have topped the work she did in her last GRT appearance as Bessie Berger in Clifford Odet’s “Awake and Sing” here with a spry step and an unstoppable need to better her circumstances.

     But it is Patrick Burke (Robert) who steals the show.  In a performance that carries most of the play, Burke is a comedic buzz saw.  He never seemingly tires of engaging others or himself. Burke lays down a physically and comedically perfect turn that left this critic in utter hysterics.

    Burke does not so much act as glide, try as slide.  His vulnerability and charm turn what could have been a mundane portrayal into a magnificent triumph of the human spirit and will.

     Burke possesses a unique gift on display in full regalia here.

     Adding to the message of the play are Kim Smith’s light design, Angela M. Eads’ costume design, Diana Martin’s set decoration and Steve Shaw’s sound design.

     Chris Winfield’s imaginative set design, without which the play would not be the same, is the latest masterwork from the 27-year GRT member.

    In the end, “Boeing Boeing” lends itself more to comedy than farce.  The characters are not cartoons, but breathing, living human beings.  If this is a farce, it is one with soul and humanity.  That alone is rare in a world where truth often takes a backseat to fiction.

     Eisenberg and fellow artistic director Winfield prove once more that quality and variety are now trademarks on Burbank Boulevard, and that what was once community theatre is now a thriving acting company to be taken seriously and profoundly. That alone is no small miracle.

     Fridays and Saturdays at 8pm
     Sunday Matinees at 2pm
     Talk-back Sundays with the cast after show-March 9th and March 23rd
     Tickets: $15-$22 (Admission: $22: Senior/Student: $17; Group 10+: $15)
     Tickets/Information: (818) 763-5990
     Where: Lonny Chapman Theatre, 10900 Burbank Blvd., North Hollywood, CA 91601
     Parking: Ample street parking on Burbank Blvd. and on Cleon Ave. South of Burbank Blvd.