Expert Acting Makes an Enjoyable Evening
by Douglas K. Burch
The Grande Dame of Nantucket Summer Theater is back in town, and Jetti Ames gives us plenty of reasons to celebrate her return.
As Grandi, she presides over a mixed (and mixed up) batch of family and friends reuning for a thanksgiving holiday. The intrigue blend of understanding, patience, humor, and no-nonsense tough love that defines her role gives Ames the opportunity to show off her depth and versatility as an actress, and she does so with great energy and panache. She seems to relish the part, and that enjoyment comes across to the audience. Even in Act 2 she remains the focus of the proceedings, although long gone. Now that’s what’s called stage presence.
Claire Bosee plays Harriet, Grandie’s frustrated daughter who is searching in vain for some unknown fulfillment. Her quietly disciplined characterization resists, happily, what must be a strong temptation to “chew the scenery.” Neatly done.
Every star performer needs a foil, and it’s Ann Roman’s turn, as Clem, the family’s retainer, to fill that spot wonderfully. Her all-business approach, artfully disguising deep affection, is a classic role, and she carries it off beautifully. A sometime island thespian, we hope she’ll come again.
Frank Morral is no stranger to Nantucket playgoers. He does more subtly comical acting with his facial expressions than many actors accomplish with their whole bodies. As Jared, Harriet’s significant other, he’s a real challenge to Muffy as scene stealer of the month. That fabulous face also serves as the source of some of the most lugubrious crooning to be heard in these parts.
While many members of Grandie’s family get-together are upset by Beatrice’s steady, heavy drinking, she is not. She gets away with several booze-masked cogent observations that reveal a different take on what’s happening. Unless you’re a charter member of WCTU you’ve got to like this loopy gal, (Played by Samara Neely-Cohen, a visitor from La La Land) as we did.
Callie Kever just about steals the show as granddaughter Muffy. Her languidly larcenous body language makes sulking a high art. She can be fiery, too, when pushed too far. A delightful portrayal, a pleasure to watch.
Yet another familiar face to island audiences, Andrew Spencer as Paul, another of Grandie’s second-generation progeny, gives a solid picture of he upward moving junior executive tiring of the corporate world and hoping to find and do his own thing. This could have been a trite, cartoonish but, but his sincerity in the role serves to ring a familiar bell. Most of us can identify with his Paul.
Lovely young Alexandra Kopko gives a surprisingly mature performance as Twyla, the all-business real estate agent, and Paul’s romantic interest. She’s assured and in control, ably holding her own with this veteran cast. An exceptionally talented young lady.
Jane Karakula’s smoothly slick staging, with many well thought out set pieces, keeps this rather prolix production moving right along. It’s what we’ve come to expect from this skilled director and, unobtrusively, adds a touch of rare quality to the show. Karakula cares about her actors, to be sure, but cares equally for their audience. That’s an important gift, one to be much appreciated.
Production elements are up to the very high standards of the rest of TWN’s current offering. Eric Schultz’s stage sets are, as always, neat, clean, and in perfect harmony with the milieu of the play. They add to the ambience of the entire production without imposing a “hey, look at me!” jarring note to the flow of the play. Good taste shows.
To Grandmother’s House We Go isn’t the archetypical lightweight fluff that many summertime productions offer. It is an enjoyable portrait of a universal situation with which most of us can easily identify in one way or another. The key word here is enjoyable. That’s what traditional summer theater is all about. And that’s what To Grandmother’s House We Go is all about, too.
