What a difference a production makes! In the original French presentation of Yasmina Reza's three versions of a disastrous mis-timed dinner party, the hosts and their counterpart guests were like the couples in Who's Afraid of Virginia Woolf? Their dramatic interplay barely caused a snicker, much less laughter, from the audience. But Banyan Theater Company draws laughs aplenty from the moment Henri and caustic wife Sonia spar over how to handle their six-year-old as he refuses to go to sleep in his room off the parlon.
Soon Henri's pompous superior, Hubert, and his reluctant-to-visit wife Inez will finish arguing in the street and arrive a day early for dinner. Planned to be a prelude to Henri submitting a scientific paper he's worked on for three "dry" years, the party -- with a lot of wine but only a little junk food -- gets pooped when Hubert mentions rival scientists may have beaten Henri to his discovery. Meanwhile, Inez questions the value of his research as well as his and Sonja's child-rearing ability. Hubert puts down Inez, despite her touting her husband's reputation, and Sonja scores Hubert for the tackiness and timing of his remarks. With kiddy cassette blaring away, will the kid go to sleep?
Act II begins to reveal how a few simple changes -- as in words, timing, attitude, mood, activity -- can reverse dramatic situation. Now Hubert drops his "bomb" early, but Henri is gaining some nerve. As he takes Inez to meet his son, Hubert and Sonja, seated together on the sofa, show they know each other, but she's reluctant to secretly make a date with him. When all rejoin, much is made by the men of the relative importance of things. Inez brings superior-inferior relationships into focus and gives a pointed speech on the importance of human beings in the universe. But it doesn't affect Sonja's baiting Henri nor, in parting, Hubert's treatment of his wife. Drink and its effects make everything funny as hell (both realistically and metaphorically).
At the start of the third variation, everyone already knows about Henri's rivals' astrophysical revelation. Hubert and Sonja mutually flirt. Henri gets a call with good news, Inez proudly acclaims an honor Hubert has received, and Sonja is upset. When the guests leave, how are both they and the hosts the same as before the party? And how are they different? Where does that leave the couples as the author leaves them? There's room for even more improvisation, as it were, but yet charm enough in the given third to provide the audience with comedy's happy ending.
Happy also describes director Gil Lazier's confident conducting of Reza's variations on a theme. The production takes risks, such as the solid walls and wooden shelf and furnishings of a parlor (where Reza wanted a minimalist set), but the circular design works in this well grounded production. So do projections of a colored universe between scenes, though the backdrop of stars is a bit unfortuitously obscurred. Inez's irridescent blue, belted sheath and updo, as well as Hubert's correct business suit, bespeak their status: No wonder Inez is upset about a run in her panty hose! However, Sonja's change from robe into silky pantsuit (of same color) with elaborate wispy top seems too dressy, too much of a contrast with Henri's casual clothes.
As with Art, Reza gives actors a chance to show their worth. Here, it's essential and admirable. At once assured and enigmatic as Sonja, Heather Corwin will also be remembered for her cool demeanor and her close-cut, bing-cherry hair. Graying Eric Hissom appears a tad too old as her mate and flappable before his willful kid, but he executes the biggest transitions toward superior and career effortlessly. In the end, he looks younger and speaks with plucky assurance.
Douglas Jones puts a singular spin on arrogant Hubert, whether ogling Sonja, rolling eyes while patronizing Henri, or with hints of grin belittling Inez. In the role originally played by Reza, Geraldine Librandi exceeds her in winning sympathy for Inez. Drinking liberally throughout her scenes, Librandi does the best bobbing drunk re-creation I've ever seen. And that's among her convincing, words-slurring colleagues in this work! Though Inez constantly brings the conversations down to earth, Librandi keeps her vision upwardly focused. When she speaks, though others patronize her, audience members listen and hear sincerity.
My only regret about Banyan's production is that it's the last by this summer theatrer company for this year. When a group makes such a difference, as with its current presentation, it's hard to wait for a year for a new program of dramatic "life x 3."
