The Foreigner
by Larry Shue

Director: Ed Mulcahy

Auditions:  February 18 and 19

Performances May 2 - 17, 2008

Individual Tickets Go on Sale Monday, April 21 at 4 p.m.
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CAST LIST

Froggy -      John Dew
Charlie -     Keith Firstenberg
Betty -        Jennifer Weil*
Catherine - Alissa Korson
Owen -       Pat Feak
Ellard-        Geoffrey Wallace
David -       Joe Ferraro

*Appears through the courtesy of Actor's Equity Association

ABOUT THE SHOW

Winner of two Obie Awards and two Outer Critics Circle Awards as Best New American Play and Best Off-Broadway Production. An inspired comic romp, equal in inventive hilarity to the author's classic comedy The Nerd, the present play enjoyed a sold-out premiere in Milwaukee before moving on to a long run Off-Broadway. Based on what the NY Post describes as a "devilishly clever idea," the play demonstrates what can happen when a group of devious characters must deal with a stranger who (they think) knows no English.

FULL REVIEW

Old Town Playhouse Welcomes
“The Foreigner”!
Reviewed by Wayne Erreca (5-2-08)

When addressing whether Larry Shue’s “The Foreigner” is a farce, romantic comedy, or satire, the popular consensus is all-of-the-above wrapped in a humorous swirl of laughter. First produced in 1983 at the Milwaukee Repertory Theatre, where Shue was resident playwright, it became a smashing hit. In 1984 it opened at the New York City Off-Broadway Astor Place Theatre, but endured low marks from most critics, threatening an early closure. Coming to its rescue was a Texas millionaire who enabled it to survive for 685 performances and garnishing the New York 1985 Obie Award and Outer Circle Critics Award. Shue, unfortunately, wasn’t able to enjoy his newfound success, after suffering a fatal plane crash over Virginia in 1985.

“The Foreigner” opens in Betty Meeks (Jennifer Weil) rustic Georgia fishing lodge, where her longtime friend Sgt. “ Froggy” LeSueur (John Dew) returns for a visit with his British military buddy Charlie Baker (Keith Firstenberg) in tow. Froggy is confident a rest in the country will restore his timid friend’s spirit from his souring marriage. Charlie quickly expresses his anxiety in having to communicate with anyone, so Froggy orchestrates the amusing assumption he’s from an exotic country and doesn’t speak English. An explosive expert, Froggy soon departs to instruct at a nearby U.S. military base leaving Charlie sitting quietly near a pot bellied stove. Rev. David Marshall Lee (Joe Ferraro) and his fiancee Catherine Simms (Alissa Korson) enter, conversing on a delicate matter. Catherine notices his presence and confronts Charlie for eavesdropping, but Betty rushes in explaining he’s a foreigner. Next to arrive is foul-mouthed, beer drinking, and unapologetically crude Owen Musser (Patrick Feak), who verbally insults him with sadistic delight. To round off this chorus of hillbilly caricatures is the arrival of mild-mannered teenager Ellard Simms (Geoffrey Wallace). Charlie realizes he’s a curious oddity in their midst. What he doesn’t know is that through silence a person can often gain a keener grasp of communication.

The first act introduces characters and sets up situations, but it isn’t until late in the same act that we’re treated to Charlie and Ellard sitting at a table sharing breakfast where the real fun begins. Charlie humorously mimics Ellard’s every move and gesture, establishing a silent bridge of communication. Shue constructed a more comically dense and lively second half than the first, which enables the actors to settle in their roles and entertainingly bond with one another.

Keith Firstenberg (Charlie) artfully displays his wide-range and subtle comedic timing throughout, and was hilariously brilliant in physically conveying his “foreign tale” in Act Two. Without any doubt, it’s the sterling moment of the entire production, and primary reason to reserve your ticket. I’m confident audiences will be looking forward to seeing Firstenberg in his next leading role. John Dew (Froggy) is competent, likeable, and believable as Charlie’s trusted friend. His energy and charisma keeps the momentum snapping along. Jennifer Weil (Betty Meeks) radiates warm inspiration, amusing curiosity, and motherly compassion. She’s especially in top-form throughout the second act. Joe Ferraro (Rev. Marshall Lee) offers a well-balanced performance and never over-reaches his character. He’s a delight to watch. Alissa Korson (Catherine) is steady and dependable. She too, as with all the characters, settles nicely throughout the second act. She has a firm command of the stage. Patrick Feak (Owen Musser) embellished his role more than the others, in fashioning Owen into a comical caricature of the stereotypical hillbilly degenerate. What’s most disturbing is the realization similar role-models are currently cracking peanut shells and guzzling beer while spouting bigoted tirades. Not to be left unnoticed is Geoffrey Wallace (Ellard) who portrayed pose and maturity. His well-meaning Ellard is a treat to watch, especially when Charlie mimics him at breakfast.

The staff: Margaret Mulcahy (Assistant Director), Gary Bolton (Producer), Jeanie Gifford (Stage Manager), Deb Bowman (Assistant Stage Manager), Kathy Verstraete (Costume Designer), Sheri Wallace (Properties), Al Lien, Joe Rice, Juston Korson, Dan Mello, Erik Emery (Set Construction), Kathy LaGuire (Set Dressing/Painting), Denni Don Hunting, Dick Cieslik, Karen Haspas (Stage Crew), Margaret Ann Slawson (Hair & Make-up), Elizabeth Stewart (Soundboard Operator), Sherri Burford (Lightboard Operator), Rick Korndorfer, Jeanne Ramick, Linda Crandall (House Managers) are to be commended for their dedication and fine work.

Don Kuehlhorn’s Lighting Design is superb and his creativeness highlights various moments throughout the production. Director Ed Mulcahy assembled a fine cast and deserves credit for encouraging fine performances from his actors and creative support from staff and crew. A director’s job is micro-managing every detail and he accomplished it well.

Larry Shue created an interesting farcical satire with “The Foreigner”. His many layers of mindless laughable dribble conceal its concluding core content. His ‘rhyme and reason’ is paved with a barrel of laughs over a more crucial social dysfunction. Saving the best for last, he first allows the audience to share merrily in laughter, proving what’s usually not seen or heard is the most poignant. “The Foreigner” is delightful, insightful, and a very pleasant evening of theatre.