Review: I OUGHT TO BE IN PICTURES Is Both Sweet and Saucy

Desert Theatreworks has produced another winner: Neil Simon's I OUGHT TO BE IN PICTURES. I often find Simon's work talky and out-of-date, but this script, with its emphasis on rekindling father-daughter love, is deeper than many of his plays, and he keeps extraneous lines to a minimum. The play is also filled with sarcastic humor, which I especially adore.

Herb Tucker is a multiply married screenwriter in 1980. More than a decade before, he left his first wife and two young children behind in New York to seek fame and fortune in Hollywood, and completely cut off contact. At first, he succeeded in his career, but it and his personal life tanked, and Herb currently suffers from a severe case of writer's block. The one thing he has going for him is his loyal girlfriend, Steffy, but she would like to take their intermittent relationship to the next level - an idea that he adamantly opposes. Into the mix steps Libby, his wisecracking, now late-teenaged daughter, who makes her way to Hollywood to become an actor. She rings Herb's doorbell without warning, demanding Herb's help. The play explores their attempts to establish a relationship and the way Libby serves as the catalyst for Herb's reluctant life changes. Along the way, the audience will experience many laughs, and maybe a few tears.

Two separate three-person casts provide Covid backups for each other. Due to scheduling issues, some of the performances are mix and match although, so far, thank goodness, everyone has remained well. Given the high performance quality, audience members will undoubtedly be happy with whichever actors they see, although an unfortunate circumstance has apparently resulted in only one set of actors being eligible for a prestigious local award. Specifically, I have been informed that the Desert Theatre League, which sends judges to productions, has told DTW that the judges will, as usual, attend one performance. Because of the quality of the acting in both casts, I hope the Desert Theatre League decides to observe both to make both eligible for awards.

The first cast I saw consists of Michael Pacas as Herb, Adah Burgen as Libby, and Lee Rice as Steffy. Many of the laughs from this cast come from hilarious moves on the part of the performers - especially from Michael Pacas, a top-notch comic actor, who excels in "movement theatre" (a form in which DTW's artistic director, Lance Phillips, specializes), as well as in comedic expressions and sarcastic delivery. Watch for his wiggles while he decides which way to walk or whether to sit down, and his reaction to Libby's revelation of her identity. But comedy is only half of his role. He is equally adept during the tender moments, in which he conveys regret and allows his desire to resume being Libby's father to shine through. Adah Burgen, as Libby, exudes sarcasm as she tries to push her father around. She is great at evoking laughter from the audience with her bravado, but I think she is most effective during the serious portions of the play. Her reactions to Max's opening up to her, including the tears in her eyes, should tug at all but the hardest of hearts. Lee Rice, as Steffy, has the thankless role of being sweet and normal, while trying to help two people whom she cares about. Steffy undergoes quite a change when Max becomes completely unglued in Act II, and she proves to him that she has a strong spine. Ms. Rice makes the most of the meaty moment.

The other cast consists of Eddie Stephens as Herb, Tess Phillips as Libby, and Stacy Casaluci as Steffy. Stacy Casaluci's Steffy is a caring, friendly person, but, even before Steffy's big blow-up scene, in which Ms. Casaluci is fabulous, this Steffy is feisty. Tess Phillips has the audience eating out of her hand as the snarky, independent young adult becomes the vulnerable child who aches to get close to her father. Her expressive face telegraphs her character's emotions. Libby is years older than Ms. Phillips' actual age, but, despite her youth and diminutive size, Ms. Phillips is thoroughly believable and earned a standing ovation the night I attended.

Eddie Stephens interprets the character of Herb almost as the polar opposite of Michael Pacas's Herb. Mr. Stephens's Herb is a dignified individual, except for allowing his New York origin to bleed through with facial expressions and hand gestures, and eventually losing his cool when Steffy and Libby press him. This Herb comes across as cerebral - a man almost paralyzed by his inability to live in the present while he thinks about the past and future. Mr. Stephens' facial expressions and hand gestures are perfect.

Director Daniela Ryan has done a superb job of coaxing brilliant performances from both casts. She deserves congratulations for guiding both Herbs into such different, but superb performances.

The technical aspects of the production are also excellent. I especially love the set design, by Lance Phillips, including the three trees outside the living room window, which figure prominently in the story. Phil Murphy's lighting design is, as usual, wonderful, as are Jeff Mazer's sound and projection design. I very much enjoyed the innovative idea of playing music during quiet parts of scenes, much as background music would accompany a movie scene.

The rest of the technical crew consists of Rebecca McWilliams (production manager, costumes/hair, makeup/props), Adriana Reyes (stage manager/sound operator/props), Maddox Phillips (alternate stage manager/sound operator), and Cydney Krone (light board operator).

I OUGHT TO BE IN PICTURES will run through March 13, 2022, with performances at 7:30 p.m. from Thursdays through Saturdays, and Sunday performances at 2 p.m.

The cast schedules are as follows:

Thursday, 2/24/22 - Tess/Eddie/Stacy

Friday, 2/25/22 - Tess/Eddie/Stacy

Saturday, 2/26/22 - Adah/Michael/Lee

Sunday, 2/27/22 - Adah/Michael/Lee

Thursday, 3/3/22 - Adah/Eddie/Lee

Friday, 3/4/22 - Adah/Eddie/Stacy

Saturday, 3/5/22 - Tess/Michael/Lee

Sunday, 3/6/22 - Tess/Eddie/Stacy

Thursday, 3/10/22 - Eddie/Adah/Lee

Friday, 3/11/22 - Tess/Eddie/Stacy

Saturday, 3/12/22 - Adah/Michael/Lee

Sunday, 3/13/22 - Tess/Eddie/Stacy

All performances take place at the Indio Performing Arts Center, 45175 Fargo Street, Indio, CA 92201. Check the ticket purchase information at www.dtworks.org for specific prices or call (760)980-1455.

Proof of COVID-19 vaccination, either physical or electronic, is required to attend DTW shows during the 2021/2022 Season. You will be asked to provide such proof when entering the lobby for your performance. If you forget to bring your proof, every effort will be made to reschedule your attendance based on availability.

The rest of the season's offerings consist of:

LITTLE SHOP OF HORRORS, Book and Lyrics by Howard Ashman & Music by Alan Menken (March 18-April 10, 2022).

A musical send-up of '50s B movies that has devoured the hearts of theatergoers for more than 30 years.

GUESS WHO'S COMING TO DINNER, Movie Adaptation (April 22-May 8, 2022).

In 1967, Joanna returns home to San Francisco with the exciting news that she is engaged to a doctor. The only problem is that both sets of future in-laws oppose the marriage because she is White and he is Black.

PHOTO CREDIT: Paul Hayashi