This production of Fox on the Fairway would benefit from a less hyper and overloud performance from Graver who plays her part at a tempo pitched to rival that of speed metal act Metallica. In one of director David Arisco’s few missteps, he might have been better off toning her role in shades of, say, Suzanne Somers’ less manic Chrissy who, too, was a blond airhead but who was equally endearing and empathetic.
Arisco, otherwise, gets the most out of Gene Seyffer’s attractively appropriate lounge set of woodwork, French doors and lobby furniture, upon which the cast races about. Alexander Herrin’s smart sound design makes the off-stage golf tournament come to life through clever panning of audio effects.
Arisco also gets fine performances from Clement who becomes so many club managers you’ve probably encountered, and snickered at, over the years. Cartland exhibits a likable bit of Steve Martin’s comic timing from The Jerk-era, and McKenna, who springs from Actors’ Playhouse’s drama, August: Osage County, one of the regional theater’s greatest and heaviest productions, proves she can handle slapstick comedy with aplomb. You’ll laugh as she attempts to fish out a wayward oyster from the confines of her bountiful décolletage or gets caught in a lip-lock with befuddled Justin just as Louise barges into the Tap Room. “It wasn’t me!” he innocently stammers. “She was using my lips.”
Stick around, or simply come for, a closing, instant-replay reenactment of the entire production in about two-minutes time for one of the most ingenious moments of comic theater we’ve seen yet.
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