HART SERVES A SAUCY HOLLANDAISE

bottom row, l - r: Sarah Fuller, Kathleen Silloway, Eric Lonergan middle row: Robbie Estabrook, Patti Speight, Brian Kennedy
back row: Ben Hare (standing), William Ferguson, Lacy Lonergan Photo by Patti Speight

By Tina Arth

The final course on the local holiday theater menu is something of a Christmas Miracle: only three weeks from casting to opening night – yet it’s definitely not a disaster (except, of course, where it’s supposed to be!). HART Theatre faced a last-minute challenge when key cast members for their planned production, Plaid Tidings, were unavailable. They brought in an ensemble of known commodities, HART veterans who could be relied on to do a credible job whether on stage or behind the scenes – spiced up with a few newcomers. In a leap of faith that paid off, they selected Mark Putnam to direct (for the first time since his college days), and quickly assembled a production of Happy Hollandaise, a tried-and-true holiday farce.

Despite the title, Hollandaise is definitely not gourmet fare. Tim Koenig’s slapstick comedy tells the absurd story of British brother and sister Claire and George Finley, attempting to welcome the new vicar, Father William Abbot, and his very pregnant wife Mary to town. All Claire wants is the perfect Christmas! She has planned a quiet, elegant dinner, highlighted by the cooking of renowned German chef Vilma Hasenpfeffer, whose special Hollandaise sauce will be the crowning touch. George arrives home to find chaos – their father, retired actor Philip Finley, has received a nasty blow to the head (from Claire, who beaned him with the crèche) and is reenacting a series of his favorite roles (in full costume, with weapons). Attempts to lock Philip in the basement are futile, the chef is late, the guests arrive early, the neighborhood is plagued by the notorious “Lone Wolf” burglar, and Mary turns out to be a bit more pregnant than expected. Of course, it all works out in the end – although the Sino-Teutonic fusion of Sweet and Sauerkraut may never catch on in the local food carts.

As with most stage farces, there is at all times a lot going on and it can be confusing to keep track of the frequent plot/character shifts. This production’s salvation is in the timing – while the pace is brisk, Putnam has slowed down both the action and the actors’ dialogue just enough that the audience can catch, follow and react to some really funny lines and great physical comedy. The detailed, attractive single set has four doors, a hallway, and a window so cast members are able to make frequent entrances and exits without colliding, and the show’s action is not slowed by scene changes.

The nine-person cast is solid – at a time when many actors might still be fighting to get off-book, this group was ready for opening night. Particular standouts include Brian Kennedy (“Philip”) who clearly gets to have the most fun – not too many lines, and his swashbuckling “El Caballo” is a real scene-stealer. This high-school senior is definitely someone to watch. Sarah Fuller’s “Claire” does a fine job of displaying quiet desperation with occasional bursts of hysteria, and Ben Hare (“George”) switches from hapless bumbler to Vilma impersonator with aplomb (although the enormous and wobbling breasts are a bit over-the-top even for farce). The most consistently funny character is Kathleen Silloway as the indomitable “Vilma” – her accent and distinctive lumbering gait are maintained throughout the show and are perfect for the part.

Happy Hollandaise has only a two-week run, so audiences have four more chances to catch this lighthearted show that will raise your spirits and prepare you for the festivities of the coming weeks.

Happy Hollandaise is playing at the HART Theatre, 185 SE Washington, Hillsboro through Sunday, December 20th, with performances Friday and Saturday at 7:30 p.m. and Saturday and Sunday at 2:00 p.m.

BCT’s A Little Princess – Family Friendly Holiday Fare

Monsieur DuFarge (Michael Prange) enjoying some mayhem with girls from
the Seminary. Photo by Ammon Riley. 

By Tina Arth

Beaverton officially kicked off the city’s holiday season with an evening aimed at children and those who are children in their hearts: the lighting of the enormous tree outside the Beaverton Library followed by opening night of Beaverton Civic Theatre’s charming production of A Little Princess. Director Melissa Riley is using Bethany Schwarzkopf’s adaptation of Frances Hodgson Burnett’s much-loved novel, a perennial favorite of young girls throughout the English-speaking world. Like the novel, this version of the story is most captivating to pre- and early-teen girls, but the show is appropriate for many younger children and adults who cherish the world of imagination.

The play is set early in the 20^th century and tells the story of young Sarah Crewe, a wealthy young girl raised in India who has lost her mother.  Her father is off to South Africa to expand his fortune with investments in the diamond mines, and he leaves his beloved daughter in the care of Miss Minchin’s Select Seminary for Ladies (in this version, located in New York City). Sarah has been treated like a princess all her life, and she treats everyone she meets (especially the underdogs) with the same gentle and loving attitude. For the first four years she is given royal treatment by Miss Minchin (who actually is quite jealous, and despises the young girl). When word reaches the Seminary that Sarah’s father has died and left her a pauper, the tables quickly turn. Sarah is sent to the attic to live and work with Becky, the scullery maid. Overworked, abused, and half-starved, she catches the attention of a wealthy neighbor, Thomas Carrisford, who has been searching for years for the daughter of his deceased friend, Captain Crewe. When Sarah recognizes her father’s friend, he rescues her from the evil Miss Minchin (and ensures that Miss Minchin will be punished for her misdeeds). The implausible coincidences and simplistic resolution work fine, because the play is aimed at children and celebrates the power and beauty of a child’s imagination.

8th grader Charlotte Burke (“Sarah”) is a stage veteran who carries off the lead role with compassion, resignation, pathos, and fire (as the moment demands).  Jeanine Stassens (“Miss Minchin”) personifies of every girl’s worst nightmare as she shifts from obsequious toady to cold sadist, and she laces her performance with believable menace.  As “mean girl” Lavinia, Victoria White brings a devious, self-righteous snobbery to her performance that most women in the audience must have recognized from their own middle school years, while Belle Edwards does a superb job of making us believe that she is the insecure and friendless “Ermendgarde.” Although the mature Michael Prange (“Monsieur Dufarge”) claims not to have acted since high school, he creates a warm and memorable character (and does a solid job of maintaining his French accent).  While he has very few lines and the diction of a kindergartner, tiny Logan Pounders (“Beggar Boy”) is impossibly endearing – the few moments he is on stage are unforgettable.

Alex Woodard’s set design is simple and flexible, and the use of the steps to carry on action during minor set changes ensures that no time is lost. The auditorium’s new light system is utilized to full advantage, and lighting designer Carter Marquis uses this medium effectively to change locale and mood throughout the play.

In a cast with lots of children, there are inevitably problems with vocal projection, and there are a few places where (at least from the back of the auditorium) I had a hard time understanding bits of dialogue. While the context is clear enough that there is no danger of getting lost, audience members with hearing issues should plan to arrive early and sit closer to the stage.  One other warning – judging from the behavior of children in two nearby rows, this is not a show well-suited to the interests and attention span of some active small boys. If they can’t handle two hours of young girls and their princess-fetishes, leave the poor little guys home!

Beaverton Civic Theatre’s production of A Little Princess runs through Sunday, December 20^th at the Beaverton City Library Auditorium, with 7:30 pm shows on Friday and Saturday and 2:00 pm matinees on Sunday.

The Worst Kids in the World Deliver TITG’S Best Christmas Pageant Ever

From Left:  Gwendolyn Woods, Andrew Inman, Anna Adams, Nathan White, Sam
Ruder, Alyssa Kittle, Sean Fisk, Matthew Lowther, Sam Dennis, Charlee
Clement, Quinten VanDyke, Pamelajean Myers, Isabel Minor, Irene VanDyke,
Maya Luevane. Photo by Rebecca Cooper. 

By Tina Arth

While almost every community theatre group endeavors to present a holiday-themed play in December, it can be tough to cast these shows. Show biz, even at the local level, can be very demanding; actors are often reluctant to invest so much time in a production while spouses, parents, and children wait at home. In her Director’s Notes, Jessica Reed acknowledges the importance of this time, saying “Christmas has always meant spending time with family a way that we don’t usually get to the rest of the year.” Theatre in the Grove, a mainstay of both community theatre and children’s theatre in Washington County, addresses this problem neatly in their holiday production of The Best Christmas Pageant Ever by delivering a nice amalgam of the two – call it “family theater” – that incorporates entire families into the production process. A quick look at the credits in the program says it all: the Dawes family, the Dennis family, the Fisk family, Brad and Christina Inman, the Harrelson and Lesh family, the Ross family, the Ruder family – all are recognized for their work both on stage and behind the scenes bringing the show to its audience.

Author Barbara Robinson has written a show that is funny, touching, and short enough to hold the attention span of even the youngest audience member: it’s time for the annual Christmas pageant, and the regular director, the imperious Mrs. Armstrong, is out of commission. The other parents gang up on fellow mom Grace Bradley, who reluctantly agrees to direct the show. Her husband Bob, who is totally disinterested, even more reluctantly agrees to help out by ensuring that the shepherds and baby angels appear on cue and in costume. The show threatens to fall apart when the Herdmans, who are the literally the worst kids in the world, demand lead roles as Mary, Joseph, the Wise Men, and the Angel of the Lord. The other town children don’t dare oppose this group of cigar-smoking, lying, shoplifting, assaultive thugs, who envision the Wise Men as spies, Herod in need of a thorough beating, and the Angel as a dark avenger. With no local mom willing to allow her baby to appear onstage in the grasp of these miscreants, they are forced to use a (much suffering) doll as the Baby Jesus. Of course, it’s Christmas, and a nice dose of holiday magic transforms the Herdmans and helps the whole town to see the story in a beautiful new light – hence, it is truly the best pageant ever.

Casting a show with a large cast of children often means that the adults are kind of an afterthought – brought in because they are tall enough, old enough, and can learn their lines while policing the antics of a stage full of kids. However, this show is something of an exception. Gratia Minor (“Grace”) brings a healthy combination of cynicism, resignation, and competitiveness to a key role, and Andy Dawes (“Bob”) displays fine timing and comic sensibility. Another adult standout is Aurea Taylor (“Mrs. McCarthy”), a priggish younger version of the domineering Mrs. Armstrong.  The kids, of course, are all impossibly winning – and Dawes’ interaction with the littlest angel (I suspect she is his daughter Pru) is just spectacular – well worth the price of admission!

The show is, as mentioned, very short. It would be nice to ratchet down the pace at a key moment (when Imogene starts crying) to draw more attention to this pivotal scene. It would also be helpful for Althea Harrelson (amazingly cute though she is in her portrayal of Gladys) to slow down her delivery and focus on really articulating the lines – she has some of the best moments in the show and should really work it!

Now that Theatre in the Grove has a tight new roof to keep the rain out, there is no excuse for all families in the Forest Grove vicinity to miss this entertaining holiday show, and to reflect on what it really means to be a refugee seeking shelter in troubled times.

The Best Christmas Pageant Ever is playing at Theatre in the Grove, 2028 Pacific Avenue, Forest Grove, with regular performances at 7:30 p.m. on December 11, 12, 18, 19, and Sunday matinees at 2:30 p.m. on December 13, 20. 

KBNB’s Swan Song

Phillip Berns, Peter Schuyler, Andrew Beck, Jessi Walters, Clara
Hillier, Gary Strong, Jeremy Sloan and Jessica Geffen as the cast of KBNB
Radio Classics, photo by Casey Campbell Photography

By Tina Arth

If Charles Dickens’ A Christmas Carol is like a snow-covered Mt. Hood, returning annually to preside over the holiday season with predictable majesty, then Bag & Baggage’s A KBNB Kristmas Karol is like Mt. St. Helens, circa 1980 – a once in a lifetime, over-the-top explosion of theatrical farce that blows away its own foundation and leaves the audience wondering “what happened?” To strain the simile a bit more, Kristmas Karol was also preceded by two smaller, but still impressive, earthquakes (the 2013 and 2014 productions of It’s A Somewhat Wonderful Life and Miracle on 43d Street) which presaged what was to come but gave no real warning of the scope of the coming event. With this production, adaptor/director Scott Palmer doesn’t just close the door on his holiday trilogy, he slams it shut and throws away the key.

The lights come up on the now familiar (to Bag & Baggage audiences) KBNB backdrop – but the call letters are askew, the clock is broken, and in place of the studio’s furnishings the stage is littered with tattered boxes, one dangling microphone, and a snake of disconnected cable. As television is fast replacing radio as the dramatic medium of choice, this year’s production of A Christmas Carol will be the station’s last gasp, and it’s set to air in just 20 minutes. Producer Winston Whiteside (Gary Strong) and his oh-so-buxom bride Lana North-Berkshire-Whiteside (Jessica Geffen) arrive to find the station in disarray, and they panic, believing that the station has been robbed – not only of furniture, props, and electronic equipment, but of the scripts they need for the evening’s show. When stars Donald Donaldson (Andrew Beck) and Felicity Fay Fitzpatrick (Clara Hillier) appear, we learn that Donaldson not only hasn’t memorized his lines, he hasn’t even opened the script and is not familiar with the story. The sudden arrival of predatory TV producer Arthur Adams (Peter Schuyler) and his odd entourage introduces another seemingly insurmountable obstacle – apparently, the KBNB folks didn’t get the memo that the holiday radio broadcast had been moved to a studio in Hoboken. “The show must go on” is a nice concept, but seems unlikely until we learn that the greedy Adams is a big Scrooge fan, his “assistant” Laverne North-Berkshire (Jessi Walters) is channeling Scrooge’s nephew Fred, and famous film director Heinrich Huber Hauffman (Philip Berns), despite his unintelligible Mitteleuropean patois, is capable of plugging one electrical cable into another. From the ensuing chaos somehow arises, if not A Christmas Carol, at least the Ghost of Christmas Carols past.

High points of the show include an abundance of riveting physical comedy (Strong must be seen to be believed), the growing enthusiasm of Hillier’s impromptu jingles for sponsor Boromax, Geffen’s giddy hysteria throughout, and Schuyler’s remarkable transitions from slimeball to Dickensian thespian. The scene where Hauffman offers a solution to their problems, but needs fey policeman Patrick Paulson (Jeremy Sloan) to translate, is a gem that lasts long after the cacophony of the show subsides. Less thrilling (although certainly true to the intense parody of the form) are the incessant breast grabbing and the sometimes-inexplicable pants dropping. Frequently, there is just too much happening on stage to keep track of it all, and I’m sure I missed some truly boffo punch lines because I was distracted by constant chatter and activity.

The opening night audience was loaded with Bag & Baggage regulars, who had been groomed by the first two legs of the KBNB trilogy and understood the “Mr. Toad’s Wild Ride” flavor of the evening. One hopes that newcomers (at least the savvy ones who are likely to populate the Bag & Baggage demographic) are able to focus and contextualize the show, find its underlying warmth, and appreciate the amazing acting company that brings such a broad and marvelous variety of theatre to Hillsboro.

Bag & Baggage’s A KBNB Kristmas Karol is playing at Hillsboro’s Venetian Theatre, 253 E. Main Street, through December 23, with performances Thursday through Saturday at 7:30pm, Sunday at 2:00pm, and Dec. 22-23 at 7:30pm.

A Taffeta Christmas Present From Broadway Rose

By Tina Arth

It’s beginning to look a lot like Christmas all over the metro area, but nowhere is the holiday spirit launched with more heart and verve than Broadway Rose’s New Stage in Tigard. A Taffeta Christmas, a 1950’s Musical Revue is drenching its audience with a dose of nostalgia that would be near-lethal were it not leavened by amazing vocal arrangements and lovingly ironic touches.  For scheduling reasons, I suspended my usual “no Christmas activities or apparel until after Thanksgiving” rule to see the show (and don my first holiday-themed attire) at its preview on Thanksgiving Eve – and my flexibility was amply rewarded.

Local author Rick Lewis’ holiday creation, like its predecessor The Taffetas, features sisters Kaye, Peggy, Cheryl, and Donna in a four-piece fifties “girl group.” The girls are back home Muncie, Indiana filming a televised special “Hometown Holiday Hoedown” for their loyal fans. Since the entire TV show is performed live (we are the studio audience) there is no attempt to create a backstory other than what the girls reveal between songs – in about 95 minutes, they deliver thirteen complete songs and three medleys. The holiday theme is pervasive, but not exclusive – songs like “Jambalaya,” “Sincerely,” and the wonderful “Secret Love Medley” lend period-appropriate variety to the show’s offerings. The “Taffeta Chatter” segment, the Galaxy Beauty Product ads, and a too-fabulous guest appearance by Cousin Warren keep the evening moving with a spirit of campy fun.

A musical revue rises (or falls) on the strength of the vocalists, and all four Taffetas (Kira Batcheller, Stephanie K. Leppert, Natalie McClure, and Dru Rutledge) deliver flawless performances. They are masters of complex four-part harmony, and each has the lead voice necessary to not just carry, but also adorn, frequent solo spots. Blocking a show where each performer is constantly attached to a long microphone cord must have been a nightmare, but Director/Choreographer Dan Murphy manages to keep all four girls posing, dancing, and weaving like they were coated in Johnson’s No More Tangles. Music Director/pianist Jeffrey Childs and his band mates, bassist Fletcher Nemeth and drummer Bill Morris-York, are unobtrusively tucked away in the background but they provide impeccable support to the production.

Costume designer Jim Crino captures just the right fifties Christmas look: bright red dresses accented by occasional touches of white lace or fur, classic “Jackie O” pearls that fit perfectly with the bouffant wigs and bright red lipstick (Galaxy brand, no doubt – the brand preferred by nine out of ten Hollywood starlets!). The scenic design by Gene Dent has the requisite “everything in one place” feel of a fifties TV show; one side of the stage is dedicated to nothing but the sponsor’s products, while the other houses a well-stocked bar that would feel at home in any rec room of the era, and the whole set exudes over-the-top Christmas charm.

A Taffeta Christmas is definitely not for everybody. Theater-goers in search of cutting-edge material, challenging dissonance, and cultural cynicism will have to find their needs met elsewhere – but for the rest of us, Broadway Rose is closing its 2015 season with just the right touch. Several shows are nearly sold out, so buy your tickets on-line as soon as possible.

“A Taffeta Christmas” is playing at the Broadway Rose New Stage Theater, 12850 SW Grant Avenue, Tigard through Sunday, December 20^th with performances at 7:30 pm on Thursday, Friday and Saturday and 2:00 pm matiness on Saturday and Sunday.

The First Belles of Christmas Ringing at Mask & Mirror

Jani VanPelt (Frankie) and Michael Allen (Raynerd). Photo by Al Steward Photography, Tigard

By Tina Arth

Christmas Belles, Mask & Mirror’s offering for the holiday season, is a farce based on the calamitous events surrounding a very bad local Christmas production – and thus, by necessity, is infused with some elements of truly awful stagecraft. It is one of three comedies set in the fictional Fayro, Texas by the prolific writing team of Jones, Hope and Wooten, and centers on the absurd and tacky Futrelle sisters – a fitting sequel to last spring’s Dearly Beloved, with many of the same cast members. Like its predecessor, Christmas Belles needs to be approached in the spirit of unadulterated fun – any attempt to find great art within the script is doomed, and Director Gary Romans (who also directed Dearly Beloved) makes no effort to turn this particular sow’s ear into a silk purse. Silk purses just aren’t that funny.

The three Futrelle sisters are in crisis. Twink (Diana Lo Verso) is temporarily paroled from jail, sentenced for accidentally burning down ½ of a trailer court while trying to destroy her ex-beau’s NASCAR memorabilia. Frankie (Jani VanPelt) looks about 10 months pregnant, carrying unexpected late-life twins due at any moment. Honey Raye (Kari Trickey) is trying to lose her reputation as town slut by directing the annual Christmas program at the Tabernacle of the Lamb Church. Their principal adversaries are Miss Geneva Musgrave (Pat Romans), the overbearing town florist angry at having lost control of a pageant she directed for the past 27 years, and Patsy Price (Virginia Kincaid), the official town snob who disdainfully refers to the Futrelle girls as “the fertile, the flirt, and the felon.” A third unseen but powerful adversary is the food poisoning that has knocked out most of the cast on opening night – we can only imagine the scene that inspires the quote “Now, do any of you know how to shampoo a sheep?” These and a host of subplot crises magically resolve at the end, although I’m not sure that Dub (James Montgomery) ever manages to pass his kidney stone.

The heavily-stuffed VanPelt is remarkably true to the awkward physicality of the extremely pregnant, and injects just the right note of hysteria into her performance. LoVerso shifts seamlessly from wide-eyed innocence to determined escape artist/vandal – her timing and delivery earn lots of laughs. Trickey’s acting captures Honey Raye’s transformation from trash to, well, slightly-less-trashy, but her hair, makeup, and clothing are all a bit too respectable for the part – somebody just needs to tart this girl up a little! Romans’ take on Miss Geneva is superb – she oozes “pushy Southern broad” out of her smug little pores. In Act I, Kincaid’s elitism is believably annoying – but it’s in Act II that she really gets to shine; as she gradually succumbs to the irresistible effects of a powerful painkiller, we see a whole new side of the prim and proper Patsy Price.

Two of the men demand mention, although for very different reasons. While watching a man in agony probably shouldn’t be funny, Montgomery is hilarious as he mirrors his wife’s oncoming labor pains with his frantic kidney stone inspired writhing – and his stoic refusal to pop a pain pill is just plain heartwarming. Maybe I’m overly sensitive, but I was a bit uncomfortable with Michael Allen’s portrayal of Raynerd Chisum, a mentally challenged and much-loved local character. From what I can tell he played the part as written, so my unease is really aimed at the authors, but it just seems like a cheap shot to milk laughs out of poor Raynerd’s intellectual shortcomings. Allen does, however, turn the tables and partially salvage the role with his exceptionally dignified last-minute rendition of the Christmas story.

While Christmas Belles is broken into two acts, it’s really structured more like a sitcom, with a series of blackouts punctuated by lots of one-liners, clever bits of over-the-top Southern slang, and broad physical comedy. It’s undemanding, a whole lot of fun in the spirit of the ugly Christmas sweater, and it’s a great way to usher in the lighter side of the holiday season!

Christmas Belles runs through November 22^nd at “The Stage” at Calvin Church, 10445 SW Canterbury Lane, Tigard, with shows at 7:30 p.m. on Fridays and Saturdays and 2:00 p.m. on Sundays.

HART’s Foreigner Unapologetically Funny Farce

Picture is of William Ferguson (Charlie), Patti Speight (Betty),  and Carl Dahlquist (Ellard).  Photo courtesy of Nicole Mae Photography

By Tina Arth

It is said that laughter is the best medicine. If so, then audiences for author Larry Shue’s The Foreigner are getting a real bargain – HART’s $15.00 admission, while not covered by Obamacare, is still the best deal in town. Under the guidance of director Sarah Ominski and Assistant Director Sarah Thornton, the cast of this odd farce creates an engaging narrative and characters we really care about.

The premise of the show is a convoluted and utterly implausible melodrama. Cockney Staff Sgt. Froggy LeSeur is making his annual annual visit to Tilghman County, Georgia, to share his explosives expertise with soldiers at a local army base. His first stop is to deposit his former Commanding Officer, Charlie Baker, at the dilapidated fishing lodge owned by Betty Meeks, an elderly, credulous Southern ditz. Charlie has been convinced by his wife’s disdain that he is utterly devoid of personality; humiliated and self-conscious, the last thing he wants is to be left alone with a group of strangers. Froggy addresses this dilemma by telling Betty that Charlie is a foreigner, understands no English, and cannot be spoken to during his visit. The lodge’s other visitors, assuming that Charlie cannot follow their conversations, reveal several dark secrets in his presence – including a sinister plot by local Klansmen to take over the lodge and eventually the country. Charlie improvises a “foreign language” gibberish until a cheerfully dim-witted guest, Ellard Simms, endeavors to teach him English. For obvious reasons an apt pupil, Charlie becomes fluent with miraculous speed, and within two days he is able to foil the dastardly plot and befriend the lovely heroine, Ellard’s sister Catherine.

While the cast is amply endowed with comedic talent, the chemistry between Ellard (Carl Dahlquist) and Charlie (William Ferguson) really sells the show.  Dahlquist is a master of the requisite “duh” look and attitude, yet he manages to convey Ellard’s inner goodness and fundamental street smarts while simply rocking a striped union suit. HART’s small theater is a perfect platform for Ferguson, as he telegraphs his thoughts to us (and eventually to his allies) with expressive eyes and an amazing range of facial tics. Many of the evening’s best laughs come from the language lessons, as an uptight British officer is transformed into a drawling yahoo learning that “ye-us” is a two syllable word. The final Musketeer in the comedic trio is Betty, and it is a part that actor Patti Speight was born to play. She hurls herself at the role, and at Charlie, in the ubiquitous American belief that loud talk and big gestures can overcome any language barrier. Jason Weed (as the lead Klansman) is a surprising standout who captures an over-the-top Southern meanness ranging from simple malice to apoplectic anger.

William Crawford’s fishing lodge set is detailed, authentic, and cleverly designed to allow for a variety of unusual entrances and exits. Some alarming events going on in an unseen outside world are captured neatly by Rebecca Glass and Benjamin Phillip’s sound design paired with lighting design by Ray Hale and Brian Ollom.

It’s not easy to keep broad farce from stepping over a fine line between serious comedy and annoyingly juvenile silliness, but the opening night audience’s reaction make it clear that the HART ‘s cast and crew got it right. If you go, you will laugh (a lot) – is there any better reason to see a comedy?

The Foreigner runs at HART Theatre, 185 SE Washington, Hillsboro through Sunday, November 8^th with performances at 7:30 on Fridays and Saturdays and 2:00 on Sundays.