Reviewed
by Will Stackman
Less
well known than his associate Franz Wedekind, Carl Sternheim made his own contribution to
German Expressionist theatre, one that is largely remembered for his "Scenes
from the Heroic Life of the Middle Class" -- which uses traditional farce to critique the
German bourgeois. Best known of this trilogy is "Die Hose", an ambiguous reference
first translated into English as "The Bloomers", but since Eric Bentley's version of the '60s, usually
referred to as "The Underpants." Steve Martin's more recent adaptation, commissioned for NYC's
Classic Stage Company and having since played nationwide, concentrates on the
central comic premise that an entire rigamarole of incident is set off when a
young wife accidentally drops her drawers while attending a royal parade.
In
the Martin adaptation, Sternheim's original, larger cast of associated
characters is reduced to a minimum. The wife, naive Louise (Carol Lawton) is married to a stolid
government clerk at least twenty years her senior Theobald Maske (Steven
Barkhimer).
Having
witnessed Louise's embarrassment, two men show up to rent the spare room in the
Maske's apartment. The first is Frank Versati, a wealthy poet, (Lewis D. Wheeler). This extravagant charmer
sweeps innocent Louise off her feet, proposing an illicit affair. As we learn
early in the play, Theo hasn't made love to Louise since their wedding night a
year ago, because he hasn't enough money saved up to afford to raise a child.
That's why they're renting out the room. This vital information comes by way of
gossip between Louise and her nosey neighbor, Gertrude (a wry Stephanie
Clayman). The
plot begins to boil when Theo returns from his constitutional, having rented
the same room to Benjamin Cohen, a barber (Neil A. Casey). Cohen too has taken a shine to
Louise, who's flattered, if a bit confused, by her new fame. Theo's
practicality leads him to divide the room in two making Versati and Cohen
roommates; and Theo’Äôs prudent Germanic sensibility makes him completely unaware
of their interest in the wife for whom he has little romantic feeling. A third
potential tenant, the scientist Klinglehoff (Robert Bonotto) shows up briefly in the first
act, but becomes central to the play's increasingly absurd climax. Broader
playing might have proved more laughable, but Barkhimer's almost whimsical
approach to Theo's genial bombast sets the tone for the production, even if
this version of the play isn't really about him, but rather his wife.
Martin
has reduced the play to its farcical structure and managed to create
appropriate characters, even though he's changed some of their names. What's
only hinted at however is the philosophical bases from which Sternheim built
the originals. Versati was ’ÄúScarron’Äù, a Nietzchian aristocrat, and ubermensch
who considers himself above the rigid society in which Theo has found his
niche. Cohen was ’ÄúMandelstam,’Äù less obviously Jewish, but still an outsider,
who espoused social Darwinism between bouts of asthma. The resulting comedy is
more entertaining than Sternheim's somewhat sour social critique, and the play
ends with a bit of fantasy (as does Martin's first successful effort,
"Picasso at the Lapine Agile").
Director
Daniel Gidron
has made good use of his experienced cast, letting each find physical
expression for the comedy, more in the world of Feydeau than the darker reaches
of Expressionism which began with "Wozeck" and exploded with Brecht. Gail
Astrid Buckley
has once again produced an excellent set of actable period costumes. Cristina
Tedesco has
created a elegantly simple design for Lyric's 3/4 stage, starting with a
circular parquet floor with just enough furniture and a open background which
doesn't dominate the acting area. Eleanor Moore's lighting once again fits the
action, and the uncredited sound makes use of familiar Strauss and Wagner
pieces which complement the play.
The
Lyric, which has made a specialty of this form, has successfully mounted a
entertaining farce with a fresh attitude.