Review: Livin' La Vida DIVAS at Ridgefield Theater Barn

One-act compilations - where several unrelated short plays are strung together to form a full-length production - are staples of local theater.

Connecticut's Ridgefield Theater Barn production of Divas is a distinct departure from that formula.

Currently on its stage, through Feb. 26, are seven pieces by one writer, Jack Neary, all of which showcase a pair of colorful, actorly creations - acid-tongued Bethel (Nancy Sinacori) and her faithful foil, Clarice (Deborah Connelly). They play veteran theater thespians who've seen it all and have something piercing to say about it all, and about each other. It's not that they stab each other in the back. Their verbal knife fights are full frontal. Fortunately, for them and for the audience, it's all in harmless, good fun.

Neary places the two competitive and catty comrades-in-arts in something akin to mini-situation comedies or sketches that each last not much more than 10 minutes.

CONGRATULATIONS (NOT)

In the opening scene, they are not so much enjoying as enduring a performance of Arthur Miller's Death of a Salesman, with their arch rival playing the highly coveted role of Linda (Mrs. Willy) Loman. Among the funny bits here is a cutting commentary on the sincerity of saying "Congratulations" to a fellow actor you've just seen on stage. It's not only laugh-out-loud-worthy but rings true. Nearly clearly knows his way around theater people and politics.

Subsequent vignettes place Bethel and Clarice at auditions, a funeral, a publicist's office, and, finally, the afterlife.

While there may be some over-earnest mugging at times - where the dialogue itself effortlessly does the mugging - the two leads play off each other impressively, to well-timed comic effect. In their contrasting personas and their stubborn camaraderie, which peeks through sheepishly at random moments, they win us over as long-suffering frenemies. In holding the stage for the entirety of the show, Sinacori and Connelly staunchly manage their formidable workload with solid professionalism.

CAMPY COMEDY

There are no weighty messages here. No high drama. Just fun stuff, listening to a couple of 60ish actors, virtually joined at the hip, tease and tolerate each other with all manner of jokey repartee and glib throw-away lines. It's all about the theater and acting. One of my tablemates aptly categorized the style employed by Neary as "campy," or humorously exaggerated. That's as good a description as any of what we're witnessing here, and the tongue-in-cheekiness of it all is what makes the frolicsome behavior go down easy.

Summing up their relationship, Clarice asks, "Why do we constantly insult each other?" to which Bethel replies, "Maybe because there's nobody else left worth insulting." Still, as we learn in one of the better vignettes, where there is some suspense in finding out which one of the self-regarding drama queens will get top billing on a theatrical poster, the appellation "divas" is intended as a term of endearment; indeed, it's a lot more decorous than that more brusque word that starts with a "b" and rhymes with itches.

At times, the showbizzy shtick can become a tad redundant, but the rapid-fire repartee keeps it all moving speedily along.

TRAUMA OF AUDITIONING
There are moments when belonging to theater culture - as actor, writer, director, or theater person of any sort - adds nuance and subtext to appreciating the shenanigans these two revel in, such as the scenes sending up the trauma of auditioning and other vicissitudes of life in the theater.

Yet, even those whose typecast theater role is audience member doubtless will roll with the theater-knowing humor and backstage dishing that animates all seven one-acts.

Co-director Paulette Layton has done a fine job taking the reins of this production after original director Michael Ferrara moved out of town since the originally scheduled performance dates of August 2021.

Recognition also is due versatile Timothy Huber, who plays multiple roles with equal parts panache and smarm, bringing to his strong turns a confident and magnetic stage presence. Also making brief and effective appearances are Catherine Cavender and Tarah Margaret Vega. Shout-out too to sound designer Ben Warner for the atmospheric musical interludes between acts.

This delightful production can be seen through Feb. 26 at Ridgefield Theater Barn (https://ridgefieldtheaterbarn.org/), which is one of my top three places to enjoy local theater in the Lower Hudson Valley. The reasons are several: Cabaret seating. Bring your own food and beverage to enjoy, starting one hour before showtime. And the friendliest people who run the place. Led by executive director Pamme Jones, their infectious energy and their appreciation of every patron make for an always convivial atmosphere that warms the theater-going experience, especially welcome in the freeze of February after a long, cold Covid.

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