Playwright Lanford Wilson delightfully manipulates the American variant of English, turning drama into comedy and comedy into drama. He writes, "Somewhere there is a portrait of him that is going through hell," when describing a man who refuses to age in the last fifteen years. The Fifth of July brings 60s Berkeley radicals together on July 4th, 1977. They have changed from the days of free love, protest marches, and getting and staying high. The current events take place at the Talley summer place in Lebanon, Missouri. Fifth of July is the first in the Talley Trilogy, which includes Talley's Folly and Talley And Sons.
The Talleys, Kenneth (Dan Gruber), a Viet Nam vet walking on fiberglass legs; sister June (Melissa Supera); her 13-year-old daughter Shirley (Moriah Angeline); and Aunt Sally Friedman (Sally S. Stockton), an outcast of the Talley clan for marrying a Jew. Also in residence is Ken's lover, Jed Jenkins (Greg Tankersley), a botanist. House guests for the holiday are Gwen (K. B. Mercer) and John Landis (Manuel J. Fernandes), and their guitarist associate Weston Hurley (Vincent Smetana). Sparks fly in outrageously funny dialogue and moments of deep drama as the contrasts that have developed over the intervening years become apparent.
When Tim Irving directs, one expects excellence in casting and staging. He hasn't disappointed us here, as the cast show total command of their characters. All stage movement seems well motivated, and the pace always matches the drama of the moment. Dan Gruber, as Ken, is excellent as the embittered, physically marred vet. He carefully controls Ken's range of emotions from the loving to the humorous to the bitter. Greg Tankersley, as Ken's lover Jed, is brilliantly modulated. He's compassionate, and when anger surfaces, it is quiet desperation rather than outburst. They form a perfect pair.
Sis June, as interpreted by the excellent Melissa Supera, has much to hide from her daughter, has the terror of raising a teen, and has to always be a stabilizing factor in the Talley household. Moriah Angeline, as daughter Shirley, portrays the teen-terror amusingly well -- at times the stereotypical teen, rebel and all, and, at times, introspective. Sally Stockton's Aunt Sally is an observer, an eccentric, and a pure delight. Ms. Stockton, the consummate pro, gives oddball Aunt Sally a very special, warm glow that is ever present when she is on stage. Vincent Smetana's guitar-picking stoner Jed, says little and mumbles much of it, all totally in character as a man that spent too much time on drugs. Fernandes' John Landis is a control freak, apparently manipulating his star-gazing wife. He brings a dynamic to John that is both convincing and frightening. Both John and Gwen survive on ingesting massive amounts of illegal substances. Mercer's performance of Gwen travels from astronomical highs to catastrophic lows.
Diversionary Theatre has staged another fine production, with flawless technical design and execution. David Weiner's two sets work well, Corey Johnston's costumes steps right out of the 70s. Chris Rynne creates nicely subtle lighting effects, while George Ye's sound enhances the 70s atmosphere.
