For the fifth time, Florida Studio Theater and a collaborating cabaret staff of writers and performers pool national and hometown humor to plunge into a satire on everyday life. Locally, saturation with snowbirds, hopelessness re homelessness, and despair from over-development mix with national problems like immigration, guns, and presidential politics. Putin epitomizes international ones. So what’s so funny? In a musical skit “Sar-a-sota!”—like Oklahoma!—the city just “cain’t say no” to developers. A gal goes on Match.com and meets a shocking someone she already knows. An extended riff on West Side Story has immigrants wanting to stay in “Ame-r-i-ca”; their props are paint brush, garden tool, duster, kitchen spoon. “Something’s Coming” becomes foreigners’ reply to politicians who want to discourage them: “You’ll see us running...going to keep on coming.” A gal already here happily proclaims integration: “I feel skinny!” (equivalent to “pretty”). There are numerous 60-Second News Flashes: An alligator appears at a rowing championship (in a local park owned by a developer). A liberal champions permanent paid maternity leave. Ted Cruz promises to deport himself if . . . The writers can make any warranted future changes. Who’s that “Star Wars” character? Do we need another “Fat Albert”? How does “The Pope from Argentina” resemble the lead in Evita? A few of the funniest bits are wordless. Richie (as Dr. Carson) hunches down and crawls behind other Republican candidates to ease up to and settle at his microphone. In a send-up of local frustration with ever-increasing roundabouts, all three men go round and round, forward and . . . backward! The big finale brings in leading candidates for this year’s Primary elections, portrayed in snatches of Guys and Dolls music highlighting their ambitions. Ingratiating Ali comes to the fore in her red jacket, wishing that “Luck Be a Lady” for her. Jeb (via Nick) may or may not be “Rockin’ the Boat,” and William Selby as Trump finally ends up “melting, melting” (from another show). Susan Angermann’s basic costumes are tux with multicolored jackets for the men over black trousers; bright jacket and skirt for Ali. Throughout, costume changes take place through apt additions of scarves, ties, hats, shawls, etc. The wigs—especially Will’s for Trump and Ali’s for Hilary—display perfection. But all the technical staff help director Richard Hopkins unlock the gates of the actors’ and pianist Jim Prosser’s talents.
