Review: COME BACK, LITTLE SHEBA True and Authentic

A 1950's house, complete with a rotary phone and tube radio, a milkman and active jock, a sexist husband and loving wife, is the setting for Come Back, Little Sheba, the superb first play written by William Inge and produced by The Summer Company. Centering around Lola and Doc Delaney, a married couple of a couple decades, Come Back, Little Sheba delves into what it means to grow old and how to maintain a grasp on young beauty.

Marie Buckholder, played by Lauren Brendel, complicates things; she is a boarder staying with the Delaney's and a living embodiment of the young and beautiful. Though she is in a long-distance, open-relationship, Marie fraternizes with a javelin player, Turk, played by George Ramey. Against Doc's will, Lola invites Marie and Turk to spend time together in the house alone. The story is entangled even more when Doc, envious of his attractive boarder, finds her fooling around with Turk. Did I also mention that Doc is a recovering alcoholic with a bottle of whiskey sitting in the cabinet, just a few paces away?

Mixing this concoction together, this production showcases intense and serious character portrayals coupled with seemingly natural dialogue, so natural, that the action unfolding on stage left me with a visceral reaction of fright and near tears by the end.

This was due in large part to Susan McGregor-Laine, playing the role of Lola. Although occasionally fighting back a British accent, Ms. McGregor-Laine's poise on stage is unrivaled. Her flustered dialogue does not sound ill-practiced, but rather humanly excited or scared, depending on the conversation. She brings to life the character in a way that the play's author probably could never have imagined.

Countering her is Mark Yochum, playing Doc. Mr. Yochum pairs well with his on stage wife, never breaking character and always remaining focused. His character has deep seeded and troubling thoughts, and it is no small task to embody such a man. Still, Mr. Yochum's 1950's mentality allows him to reach a certain depth of character with Doc. The half dozen or so other actors also do well in this show but are overshadowed by their seasoned co-stars, to no fault of their own.

The set for this production is well thought out and commendable, especially for the designer's attention to 1950's detail. I actually felt as though I were peering into the Delaney's household. The only confusing aspect is the separation of the kitchen with the living room; though conversations could clearly be heard throughout the entire house, it appeared as though the characters imagined a wall to separate the two areas.

The direction for this play is also worthy of praise. Aside from some dialogue timing, usually in the form of lacking pauses between dramatic moments, the director used every aspect of the set as it is designed. Serious and at times overpowering, Come Back, Little Sheba weaves lighter parts and needed comic relief seamlessly through the squabbles and arguing. A compelling performance indeed, the show runs through July 24.

To see or not to see score: 7/9; Recommended Show

Photo Credit: Dale Hess

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