Death Of Last Night's 'Best Man' Leaves Void In Civic Theatre Play
Death Of Last Night’s ‘Best Man’ Leaves Void In Civic Theatre Play
By Ted Rancont Jr.
(News Drama Critic)
The best man died at the end of the second act.
“The Best Man” nearly died with him after Alfred Sullivan was placed hors de combat by playwright Gore Vidal. Sullivan’s performance as ex-president Hockstader was last night’s pacemaker and by far its best characterization.
In refreshing contrast to the rest of the cast, Sullivan real, full-blown, breathing man all of the time. His acting would have done justice to a professional production. He did considerably more than justice to a halting, nervous Civic Theatre production best described as perfunctory.
Kingsbury Marzolf as ex-secretary of State William Russell and Al Schrader as Sen. Joseph Cantwell sent out sparks more than once. But their electricity was like sunspots, a passing phenomenon that vanished as quickly as it burst forth.
Marzolf and Schrader looked like presidential candidates seemed to have good understanding of their roles. Their lack of spontaneity may have been a product of too much rehearsal. They conveyed the vague feeling almost constantly that if they would relax they would be quite good.
A trifle too loose by comparison was Barbara Linden in the role of Mabel Cantwell. Her syrupy viciousness probably would have worked beautifully had the other principals been up to her level, but last night she was a freak instead of a floozy. Whether Miss Linden should or could have toned down her performance to match the rest of the cast is arguable. Sullivan seemed to have done so with spectacularly good effect.
Bettie Seeman was a slow starter as Alice Russell, really sinking her teeth into her role as the candidate’s wife only near the end of the third act. When she finally wrestled her character to the surface, however, she was believeable.
Bill Seeman brought more conviction to his role as campaign manager Dick Jensen, but was swamped during the whole first act by the woefully slow pace imposed by director Raymond Nichols.
Nichols’ apparent attempt to orchestrate the play into movements of increasing tempo backfired badly because his players seemed to equate slowness with dullness.
Maggie Albright was ready all the way through in the role of Mrs. Gamadge, neither growing nor reacting perceptibly.
Like Miss Seeman, Norman Gibson took considerable time to feel out his role as campaign manager Don Blades. His difficulties were compounded by Vidal, who for some reason gave Blades only a few short lines compared with the long speeches given to his opposite number.
John Rae grimaced without motivation and posed as ridiculously in a non-interpretation of the role of Sen. Carlin that left the character a fuzzy question mark.
Jerome Patterson grimaced with reason in the role of Sheldon Marcus to provide a few moments of welcome comic relief.
The Civic Theatre “Best Man” is an artistically tentative, dramatically timid approach to a rip-snorting political play. As Sullivan amply demonstrated and as Marzolf and Schrader showed here and there, the elements for a definitive statement are present. The jogging show leaves a strong impression that a thorough shakedown, such as occured last night, could not help but improve it.