Italian American Reconciliation
The gloves come off in John Patrick Shanley’s romantic comedy at the Ruskin Group Theatre. Performed by an outstanding cast, the play follows the delightful mishaps of love and hate as Aldo (John Collela) tries to help his good friend Huey (Chad Wood) woo back his shrewish ex-wife, Janice (Amy Jacobson Ruskin) in a misguided attempt to assert his manhood. Charming and accessible, this age friendly adult situational romp is sure to please the whole family and leave everyone laughing for more.
Not one of Shanley’s more mature pieces such as the triple award winning play Doubt: A Parable or his Academy Award-winning screenplay, Moonstruck, this cornball comedy lays on the cheese as thick as any deli slice served up in Little Italy. Nevertheless, the insightful psychology behind the pursuit of love receives a nice, little twist with Aldo acting as a go-between on behalf of his friend Huey. This sacrifice is not only awkward for confirmed bachelor Aldo—it’s downright lethal as Janice tots more weapons than a Texan armory and has had it out for Aldo and all men for that matter since they were kids. Hearts are broken, mended and healed eventually, but revelations about the sexes and loyalty among friends are among the strongest sentiments found here. Somewhat between a cautionary tale of redemption and morality play about the virtues of marriage and settling down, Shanley’s archetypal Italian romantics may smack of stereotype, but their desires are universal and amusingly relatable in their foils.
John Collela charismatically leads this wonderful ensemble as he addresses the audience with a sly smile, acting as narrator as he retells the memorable reconciliation between Huey and Janice. Although the accents are sometimes fuzzy and the pace a bit too slow, the cast really shine in their own monologues, particularly Aunt May (Mary Margaret Lewis) when she recounts her life with her late husband. Unfortunately, some of the dialogue is too precisely delivered and too consciously during some of the more emotional explosive scenes—every word is definitely heard but lacks natural rhythm and spontaneous response. If the cast can be accused of anything shortcomings here it is they are simply too well rehearsed.
Rae Allen’s directing is as simple and straightforward as Shanley’s sweet setups of mismatched couplings. The intimate space is inviting, but leaves little room for much creative staging let alone artistic showboating; however, Allen rightly focuses on the action between the characters rather than discovering unnecessary tableaus. Considering the tight playing area Allen does a good job within such narrow confines highlighting Janice in a lovely balcony scene. The transition in act two though needs to be quicker when it’s so close to the end of the show.
Set design by Christine Silvoso creates a robust atmosphere without much fuss, using only a few pieces such as glittering blue curtains for Janice’s home and an old-fashioned leather bar for the restaurant to signify place. The turquoise panels add some bright color and the slanted doorway some needed depth to complete a slightly hinted Italian motif.
The cast is only as good as their weakest link and there aren’t any weak links in this chain. The only quibble might be that they could have used a bit more authentic casting of Italian actors but the script surprisingly doesn’t demand it. The role of Huey understudied by Chad Wood gave a terrific performance as a spineless husband trying to find a way to man up to the woman he loves/detests. Cloe Kromwell as Huey’s current rebound, Teresa, is sympathetic without resorting to hammy hysterics. As Janice, Amy Jacobson Ruskin simmers and sneers as the idealized woman who secretly despises all men who adore her. Mary Margaret Lewis is sensational as the wise matron with some of the meatiest, meaningful dialogue reserved for her character. John Collela could charm a snake from its skin in this affable role.
This little undiscovered gem of a theatre is one that should definitely get more attention for its commendable work and local support of the arts such as their LA Café Plays. Located across from the Santa Monica Airport and a stone’s throw from the Spitfire Grill, the theatre may be small on space but is large on heart. Be prepared to hear nearby planes flying over occasionally, but the superb acting surpasses even this annoying interruption.
A funny, light-hearted fare proves easy entertainment to sit back and simply enjoy the saucy reconciliation of loving haters.
“Italian American Reconciliation”
Runs through December 6
Fridays and Saturdays at 8pm
Sundays at 2pm
Ruskin Group Theatre
3000 Airport Road
Santa Monica, 90405
PH: 310 397-3244
Ample free parking
LA Café Plays
Every 3rd Sunday
PH: 310-397-3244