August 18, 2024
Review by Chris Cassone cc@chriscassone.com
"Plaza Suite," the award-winning and very successful 1968 Neil Simon play (alluded to in the play's title) set the standard to which playwright Kelli Bowlden aspires. She essentially copied the device that Simon created, same room--different characters. Clever, possibly a good writing class exercise and, overall, it still worked with fresh new characters and their problems of today.
We were treated to the small-space SkyPilot Theater Company has transformed into the honeymoon suite of a mid-level hotel. Certainly not the 5-stars of the Plaza, with a lot left to the imagination. The cast entered to the "Dance of the Qua Qua," commonly known as the Chicken Dance, and they all took their places on the stage's perimeter. We knew right off that this was all post-wedding. They jumped in when needed, added cute "off-stage" voicings and, most impressively, created a living heartbeat by knocking their elbows on the wall as a group. This had the pronounced effect of heightening a crisis as it took place in front of us.
Each "act" of
Honeymoon Suite (with apologies to Neil Simon) with different couples in the room and on its king-size bed lasted about forty minutes. What did become apparent very quickly was the common thread of "what have we done?" It took on the feeling of post-coital remorse, like, "I love you, now, who are you, really?"
Three couples, with the woman of each, the more romantic. She, they, wanted the full package of a wedding - you know, all the trimmings but also "happily ever after." When that was questioned, the elbows started to hit the wall and the heartbeat got louder. Stevie Kinchenoe's Evy was the perfect hopeless romantic by way of soon-to-be-Army realist. Oscar, Jerry Campisi (who we had trouble hearing at times,) tried his usual come-ons with his new bride but soon realized that he really should have worked them out beforehand. You know, like living together.
Alex Borja's Mike had that cringeworthy honesty that the entire audience wanted to stop. We all know that line, the one that should be crossed if we are to have a totally honest relationship. But when we do, we lay ourselves open for interrogation. Borja did a great job in trying to walk that line. His Katie, Lindsay Shelton, really wants the whole love and marriage package as well. So much so, she dons a dinosaur costume to urge him on, even if she
is pregnant. Again, we all were screaming, "You should have worked this stuff out beforehand!"
Our finale was the bridal party of Becca, a bevy of Instagram Gen Z's who are "there for her" as she was left at the altar. Or was she?
No spoilers but Jeff was the only male on stage with any responsible character. I was left feeling sorry for his plight. If Becca's smart, she won't let him get away. Her bridal party interplay was the highlight of the night with superb timing, spot-on humor and eye-watering pathos. This act alone should guarantee Bowlden her ticket for the big time.
Jenna Hoffmann's smart, minimal direction kept the characters and story in front of us and their rising and falling as key to the production. With no sound design, no audio desk and basic lights, she did wonders with the cast and kept the story first.
Performances continue until August 25, so hurry. You'll leave the theater like me, buoyant, fulfilled but wondering, should I tell my wife
everything?
905 Cole Theatre, 905 Cole Ave., Hollywood 90038. Friday and Saturday at 8:00, Sunday at 3:00.
