A History of the American Film at The Summer Company | Theater | Pittsburgh | Pittsburgh City Paper

A History of the American Film at The Summer Company 

There’s so much coming so quickly that plenty will surely tickle a funnybone

Colleen Garrison and Frank Schurter in the Summer Company’s A History of the American Film

Photo courtesy of Justin Sines

Colleen Garrison and Frank Schurter in the Summer Company’s A History of the American Film

Inspired by the Wildean maxim, “Nothing succeeds like excess,” the Summer Company presents a rollicking, season-ending A History of the American Film.

Christopher Durang’s multilayered 1976 musical comedy (a Broadway hit in 1978; given a new ending in 1995) probes the identity of 20th-century America through Hollywood archetypes and popular movies. The five central players embody the clichés represented by various stars: tough guy James Cagney (who morphs into Bogie, Brando, et al.); perennial ingénue Loretta Young; good guy Henry Fonda; moll-vixen Bette Davis; and wise-cracking loser-at-love Eve Arden. Supporting them are more than 50 characters played by, in this case, 10 actors — changing color, gender, etc. as necessary.

Director John E. Lane Jr. heaps on the creative chaos with recent events, film clips and a movie “singalong” before curtain to introduce the cast and get the audience revved up. No, it’s not perfectly smooth, but there’s so much stuff coming so quickly — film references, double entendres, in jokes, out jokes — that plenty will surely tickle a funnybone. My favorite bit is Loretta (Colleen Garrison), in her sweet-and-innocent days, reciting Hollywood’s Hays Production Code as the values she admires and hopes to emulate. Later, the sadder-but-wiser Loretta vamps through the song “Euphemism for Sale,” upending the Code. (Credit Mel Marvin for History’s music, Durang for lyrics.)

Garrison anchors the many plot threads, looking for a happy ending as everyone around her chases different identities. Classic leading-man type Frank Schurter cruises through Jimmy and assorted personae, staying credible as the splintering storylines becomes less so. As Bette, Jill Jeffrey gleefully munches scenery, reenacting classic flicks from Citizen Kane to Dr. Strangelove. Nathaniel Yost (Hank), way more likable than Fonda, and Sarah Murtha (Eve) provide what passes for “sensible” people.

Among the cast of dozens, Gina Preciado commits grand larceny as scene-stealing mothers. Tim Syicarz, among various roles, does my second-favorite piece as “Victor Henreid,” Paul Henreid simultaneously in Now Voyager and Casablanca. There’s just not enough space to sing the praises of actors Jillian Lesaca, Umar Faraz, Neil Donaldson, LaMar Darnell Fields, Lauren Gardonis, Sarah Williams and Tyler Jennings, as well as stage manager Elysse Dalzell, music director Stephanie Zolla and choreographer Nora Nee.


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