“It was the nicest present I could bring you:” Gateway Playhouse’s The Man Who Came to Dinner is Classic Comedy Made with Care (and Calf’s Foot Jelly)

by Don Toal

Some shows just feel like coming home again.

It can be for any number of reasons.  It can be the atmosphere the show cultivates, or perhaps the memories associated with it that ring true.  I remember working on props crew as an undergrad for The Man Who Came to Dinner and struggling to put my meager carpentry skills to work building a penguin crate.  I remember coaching skeptical high school students through the snappy verbal tennis matches baked into the dialogue, and laughing uproariously at the results when the comedy finally clicked for them.  And I expect I’ll remember walking into the historic Gateway Playhouse in Somers Point, sitting down in a familiar space, and taking in the cozy Christmas vibes as a group of talented performers gave a cheeky comedy a new life for a new audience.

George S. Kaufman and Moss Hart’s classic 1939 play The Man Who Came to Dinner was a staple of the stage during the first half of the twentieth century, but its appeal tends to get overlooked in favor of fresher, more topical comedies.  That being said, the directing team of Ryan Daly and Camille Averso balance the scenes of celebrity chaos with a witty, endearing charm that earns plenty of laughs from the audience, and cultivates the feel of coming home for the holidays - uninvited guests and all!

From the first glimpses of David Stratoti’s gorgeous living room set, time, place and season are instantly conveyed.  Warm maroon walls and snowy white baseboards are littered with period holiday decor, with no wasted space or unfurnished parts of the room, making the Stanley’s house feel lived-in and full of depth (the shelving full of knick-knacks visible past the doors to the sunroom adds to this depth as well).  Paired with Technical Director Philip Pallitto’s equally festive lighting design, which makes great use of color and focus (such as during Whiteside’s “Angel of Crockfield” monologue, wreathed in a heavenly glow), the scene is set for Christmas in April.  Elizabeth Volpe’s period costumes are a fantastic fit for glamorous Hollywood socialites and local eccentrics alike, with each character’s wardrobe clearly conveying age, status, and small touches of detail to add personality.  Stage Manager Karen Lopez and Production Asst. Tina Holden keep the production running smoothly and ensure that the devil is in the details regarding props and furnishings.

While many of the larger than life characters present in the play are based on real-life theatrical figures (for example, the character of Banjo is essentially Harpo Marx, and Sheridan Whiteside is an unsubtle pastiche of Kaufman and Hart’s friend and collaborator, Alexander Woollcott), many (if not all) of the cast leave just the right amount of teeth marks in the scenery to match, making fun choices that add to the mayhem while still providing plenty of standout character moments.   

As the famous critic and radio personality Sheridan Whiteside, Sal Sanzo commands the room even when there’s no one in it but himself.  “Sherry,” dripping icy sarcasm and razor-sharp wit with every zinger, has a superb presence befitting such an accomplished (and supremely self-important) character.  But Sanzo’s Sherry is far from one-note–the emotional depth and sincere connection he shows to his friends, and to the people he finds intriguing and actually likes and respects (esp. in contrast to those he does NOT) adds wonderful layers to this mercurial figure.  

Alissa Dirato’s Maggie Cutler is a wonderful foil to Whiteside, weathering his tantrums and dishing out plenty of barbs in return.  Their dynamic comes across instantly as a lived-in friendship, making the ups and downs of their story arc all the more engaging.  Dirato has a marvelous delivery full of nuanced expressions and a pitch perfect match for the 30s Transatlantic style.  She goes out of her way to respond organically to each of her scene partners, making their moments crackle with chemistry.

This is especially important with her romantic rival Lorraine Sheldon, played with gossipy grace by Allison Parlin.  Parlin’s vainglorious starlet is every bit the conniving vamp, which makes those moments where her carefully crafted façade crumbles to panic all the more hilarious.  The buildup to her final “entombment” in the Khedive of Egypt’s sarcophagus is a fantastically paced bit of comedy, from both Lorraine and Banjo and Sherry.

Bert Jefferson as portrayed by Charles “Chick” Lieby is a bundle of eager energy, easily winning over Maggie and the audience. The two have some lovely chemistry together, and Lieby makes bold choices that stand out in any given scene.  

The hapless Stanley family whose home is consumed by Whiteside and his orbit are no less dynamic than their celebrity houseguests.  James Maher’s Mr. Ernest Stanley portrays both fluster and bluster with crisp diction and wonderful comic timing.  Elizabeth Volpe gives a good contrast as Mrs. Stanley, flitting between celebrity fangirl and beleaguered housewife with effortless ease.  Nick Efstatos and Janelle Hawkes (the latter of whom also handled the Marketing for the production) give endearingly sincere performances as Stanley siblings Richard and June, caught between their close-minded parents and the worldly possibilities Sherry encourages for their futures.  As tireless housekeepers John and Sarah, Joe Chialastri and Linda Vitullo serve as great foils for the colorful characters, getting swept up in their antics and providing a few fun takes of their own.  And Dayle Friedman exudes otherworldly eccentricity as the mysterious Harriet Stanley, with an ethereal voice and darting eyes that are just right for what you’d expect from a grown-up Lizzie Borden (a clear inspiration for the character, if the “forty whacks” rhyme Sherry taunts Ernest with in the final scene is any indicator).

But the cavalcade of strong personalities does not stop there–if anything it balloons to comical proportions with each new guest star darkening the Stanleys’ door.  Lucian Hartt gives a memorable performance as the hedonistic, impulsive comedian Banjo, giving John Belushi energy as much as Harpo Marx as he clowns and mugs dynamically through each moment.  As the cosmopolitan writer Beverly Carlton, Steve Ciapanna glides through the scene with cheek and liquid charm, giving some wonderful interactions between Beverly, Maggie and Sherry, as well as a Cole Porter-esque acapella performance that was well enjoyed by the audience.  Gary Poetsch sets the tone well for the type of company Whiteside keeps, portraying Professor Metz with a giddy German accent and a zealous glee for creepy-crawlies that makes him a fantastic first choice to invite over for tea.  As the clueless and rather incompetent Dr. Bradley, Dave Somers captures the small-town comedy inherent in the character’s running gags, earning big laughs any time his head pops through the door.  And Victoria Biron steals the scene on several occasions as the frazzled nurse Miss Preen, giving great facial takes to Whiteside’s verbal abuse and a delightfully dark monologue when she’s finally reached her limit, one which earned very appreciative applause at this performance.

Rounding out the cast is a dedicated group of ensemble performers, including Debra Patterson as Mrs. Dexter and Kim Tucker as Mrs. McCutcheon, as well as Andrew Czekalski as Westcott, Andrew Ireland as Sandy, and Brett Holden-Bohach, Bill McManus, and Chuck Vitullo as versatile players covering everyone from convicts to radio technicians to working-class joes.  This assortment of performers roll up their sleeves and dive into their scene work with just as much enthusiasm as the principals, giving some clever character moments to add comedic seasoning.  And we certainly can’t forget the delightful trio of choir children (Audrey Daly, Aaron Rabinowitz, and Floral Supal), whose sweet rendition of Silent Night gives a perfect backdrop to the unique brand of chaos that is never far behind Sheridan Whiteside.

The Gateway has a storied history in South Jersey, serving as the site of multiple artistic endeavors throughout the last century, all the way back to its roots as the Seaside Theatre in 1927.  In that space, the old becomes new again, through the hard work of dedicated artists and volunteers.  The joy of reconnecting with dear friends and finding order out of chaos is clearly encapsulated in their production of The Man Who Came To Dinner, making for a delectable entrée of theatre.  It’s only a shame that the cast and crew couldn’t overstay their welcome for a second week of shows, as they clearly had a ball visiting with both the good people of Mesalia, Ohio, and of Somers Point, New Jersey. To purchase tickets to future productions at the Gateway Playhouse, click here: https://www.gatewaybythebay.org/GatewayHome.cfm