The actors all fit their roles so well physically and emotively in The Foursome that it’s a shame they have to sustain a long, drawn-out version of a reunion of college best friends. During 18--count ‘em 18--scenes that begin and end on the holes of a golf course, each person’s shots laboriously frame the really important conversations that occur among those waiting to move on.
Much is made of a bet, instigated by Tai Reeve’s good golfer, smoothie Rick, with potentially big money at stake. The four players divide into two teams. Rick’s mate Donnie isn’t even a golfer wanna-be, while Cameron and Ted together seem to stand a chance.
Suspense is supposed to involve which will win. It’s clear, though, from so many plays that deal with reunions that there’ll be more important revelations about the participants’ pasts and present. Also, typically, this one really concerns winning or losing in the game of life. It isn’t until the second half of the course that the ways the men have played that other game is revealed--if, by that time, the audience cares.
Colin Brady plays easy-going, self-confident Donnie as the ultimate family man, always talking about his small town and kids. Alex Beach takes on an opposite persona, Ted, reputed as “a stick in the mud” and always worried what others think of him. Married and childless, he’s teased about his wife being much younger. Ted has followed her into Buddhism he seems to know little about.
Cameron, played by Carl MacMichael with edgy concern about the bet, may or may not have a well playing job. How much of what he finds out about his wife will affect his relations with her and with the guys?
Rick gets most of the attention, whether denigrating marriage or proposing one of his typical schemes about investing, this time in Brazilian pepper trees. It’s shown he hasn’t been included in some of his friend’s affairs. He’s also opined that where money is concerned, there are no friends. Is that why he questions news Cameron’s announced about his salary and job?
Director James Thaggard would have done well to hurry the changing scenes so audiences would want to know what happens rather than squirm at the length or leave at intermission. Thaggard seems to have gotteb much truth from the performers but an unfortunate interminable gimmick from writer Norman Foster. A play of his shown in Sarasota was saved from being melodrama by direction and also sterling acting. The Foursome isn’t as strong a play, to begin with, though.
Ralph Nurmela’s backdrop of a very green golf course serves the production well. A few props, mainly one containing changeable number cards for the 18 holes, complete the suggestive set. Costumes are appropriate, as is the lighting--though one would wish there were not such need for continuing lights on and off between the golf segments.
