Brighten your day with ‘Black Comedy’
English playwright Peter Shaffer is probably best known for his dramatic plays, such as Amadeus and Equus (the 2007 revival starring Daniel Radcliffe who stirred controversy for his nude scene). On the other hand, Shaffer’s comedies are of the same caliber as many British farces, like those seen on the BBC (British Broadcasting Corporation). His 1965 Black Comedy is currently lighting up the Utah stage, put on by the Pioneer Theatre Company — one of the most consistently good theatre groups.
The one-act play opens with a few minutes of complete darkness on stage as a couple prepares for a dinner party — presumably moving about easily and complimenting the look of each other and the furniture. Suddenly, the stage flood lights flip on, glaring as a train’s headlight, and the couple starts bumbling around, unable to see anything in their “complete darkness.” This “reverse lighting” technique obviously changes the perception, in a physically humorous way, and is the essence of Black Comedy.
Brindsley (Michael Brusasco) is a struggling sculptor who recently became engaged to his fiancée Carol, who’s a little rough around the edges. The couple has invited Carol’s military father Colonel Melkett (Greg Thornton) to Brindsley’s “flat” to share the news of their impending nuptials. Before the colonel arrives, they first replace what little furnishings Brindsley owns with across-the-hall gay neighbor Harold’s (Donald Corren) expensive, antique furniture — who happens to be out of town; all to impress Carol’s father, as well as an arts dealer (Steven Fehr) who’s also been invited to see Brindsley’s work.
Of course the evening is muddled by a power outage, a nosy and intoxicated neighbor (Joyce Cohen), a slow-witted electrician (Lenny Wolpe) the early return of Harold and the unexpected arrival of Brindsley’s ex-girlfriend Clea (Lauren Elise McCord), in hope of getting back together. Sound chaotic? As any farce should be, and it’s done superbly.
The stunt choreography by Dale Anthony Girard is oddly graceful in its execution; Carol’s timid acension of the stairs in the dark and Brindsley’s tumble down them are hilarious in there genuity. The ensemble cast is like moving parts of a well-oiled machine, gliding around and between each other in comic clarity. Brusasco’s performance as a deceptive charlatan is slapstick heaven; Wolpe’s inappropriate appreciation of Brindsley’s sculptures is comic genius; Thornton’s military reverberance booms; and Moulton’s “pretty-girl with an unpolished demeanor” is incredibly funny.
Costume designer Carol Wells-Day fittingly … well execpt for Moulton’s too-high-hemmed dress, which I’m sure was not an accident … dresses the cast in 1960’s attire congruent with the characters’ personalities — especially Harold’s outfit, a cross between Austin Powers and Gumby. And William Barlcay, the set designer, creates a functional surrounding for the constant movement of the actors.
I’m a huge fan of British farce and physical comedy, which is basically one-in-the-same, and there is plenty of it in Black Comedy. The wacky, light-heartedness of Black Comedy should brighten your day.
Black Comedy lights up the stage through Jan. 29, Pioneer Theatre, 300 S. 1400 East, UofU, Tickets available at 801-581-6961 or pioneertheatre.org.