Review: ROUGH CROSSING at Resident Ensemble Players

The curriculum vitae of Tom Stoppard is staggering. 1964’s “Rosencrantz and Guildenstern Are Dead” brought him initial fame in the theatre world. Prolific does not do the man justice. In every theatrical/writing genre he has excelled. Tony Awards, Academy Awards and every other conceivable one. To give some context, he wrote the film “Shakespeare In Love” and “Indiana Jones and the Last Crusade”. His genius in writing is equal to that of Stephen Sondheim in musical theatre.

This brings us to the Resident Ensemble Players’ “Rough Crossing”.

It is absurdist comedy; a genre of humor that focuses on the ridiculous, illogical, and nonsensical aspects of life. It employs exaggerated situations, characters and dialogue to create humor. Monty Python is an example, as is the Coen Brothers “Fargo”. Stoppard’s comedic lines and play structure in his play is oftentimes too cerebral, creating a disconnect with the audience and what should be the intended absurdity.

The show does have its moments, owing more to the ingeniousness and facility of the ensemble players than the script.

Playwrights Gal (Hassan El-Amin) and Turai (Stephen Pelinski) are set to complete their latest musical comedy. They board a luxury liner set to sail from Cherbourg to New York. The two are accompanied by Adam (Michael Gotch), a former actor who has a tragic, for him, (amusing to us) “Rainman’ speech impediment brought on by the return of his terrifying mother from prison. (Aisle Say proffers that many of us have faced similar agonizing dilemmas). To add insult to injury, Adam, whose first and last name is Adam (mais oui!) is further traumatized when hearing that his current lover Natasha (Elizabeth Heflin) may be romantically involved with Ivor (Mic Matarrese), an actor who is not the brightest crayon in the box. Heflin plays the perfect melodramatic actress, reminiscent of the sex symbol Jean Harlow.

That running speech tic of Adam was allied with an even funnier one by cabin steward Dvornichek (Lee Ernst), who doesn’t know starboard or leeward. Ernst has perfect timing. Turai continually asks for a spot of cognac. As Dvornichek starts to serve, Turai says a several lines that the steward thinks is ‘cheers’ for him to drink it himself. Very funny.

The Resident Ensemble Players’ productions are consistently excellent in every technical aspect. Costume Design by Celeste Jennings are period 30’s authentic and highly glamorous. The art deco influence by Scenic Designer Stefanie Hansen was stunning.

While MacKenzie Speed and Kyle Montenez sing and dance with gay bravura during interludes, Aisle Say simply could not understand their relevance; willfully adding to the absurdity.

Doffed in a bellcap chapeau, pianist Charlie Gilbert appeared at certain times and gave panache to the production. Gilbert is the Professor Emeritus at the now extinct Philadelphia University of the Arts. His musical work included “Assassins”. Sondheim reached out to him to create the stage show and attributes Gilbert in each production.

ROUGH CROSSING – Thru November 24  302.831.2204  Resident Ensemble Players | Theatre and Dance | College of Arts & Sciences | University of Delaware

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