Document text
Camelot's 'Foreigner' engaging and well-timed From left, Beth Boulay, Erny Rosales and Shirley Patton star in "The Foreigner," running at Camelot through May 21. [Steve Sutfin photo] Tuesday May 2, 2017 at 5:41 PM May 2, 2017 at 5:41 PM By Evalyn Hansen for the Mail Tribune Larry Shue’s 1983 play “The Foreigner,” now at the Camelot Theatre in Talent, is a touching and stimulating comedy. Though some might classify the play as a substantive sit-com, the story is skillfully woven, delivering some timely social commentary. On a dark and stormy night in rural Georgia, at a small dilapidated fishing lodge near an army base, explosives expert Sgt. Froggy LeSueur drops off his old war buddy, Charlie Baker (the marvelous Erny Rosales), for “a forest retreat” as respite from Charlie’s worry and exhaustion from caring for his ailing but unfaithful wife. Heartbroken, tragically depressed and shattered by lack of self-esteem, Charlie feels he is too boring to be of interest. He is petrified by the thought of idle conversation. His life question is: “How does one acquire a personality?” Through Froggy’s well-meaning machinations, Charlie unwittingly masquerades as a non-English speaker. The lodge is owned by Betty Meeks (the adorable Shirley Patton) who, enchanted by what is new and different and hankering for exposure to different cultures, takes to Charlie. Considering him picturesque, she welcomes him in, and they develop what she calls “extra circular communication.” One of the lodge guests is Catherine Simms (the charming Beth Boulay), an heiress to a “prepared meats” fortune. Catherine, who now considers her former debutante existence as stupid, regards herself as one of those people who are "just a waste of food.” Facing the prospect of having to get married sooner rather than later, she is going crazy with no one to talk to. Catherine’s brother, Ellard (the marvelous Zag Wentworth), is sweet, adorable and somewhat developmentally disabled. Ellard first engages Charlie with elaborate body language; then they begin “working on words.” Catherine’s fiance, the conniving Rev. David Marshal Lee (the outstanding Dan Hanvey), motivated by power and greed, is involved in a scheme to condemn and acquire Betty’s fishing lodge and to deprive Ellard of his fortune. His sidekick is Owen (the robust Jeff Mercer), a menacing crusty redneck who likes dynamite (not just for fishing). Much of the comedy surrounds how we relate to people of a different language and culture. The play is a witty commentary on the barriers of language and efficacy of learning. How do we relate to someone who doesn’t speak our language? Do we assume they’re partially deaf and speak too loudly to them? When they look at us quizzically, do we explain things with way too many words? Are we condescending as Catherine was to Charlie: “Do your people bend in the middle? Have a seat!” Or do we use the person as a sounding board to reveal our innermost secrets, thinking that he won’t understand a word? Shue points out that foreigners are often an easy target for hatred and frustration. When Owen meets Charlie, he says: “The last time I saw a foreigner, he was wiggling on the end of my bayonet.” News of the outside world foreshadows events when Catherine reads in the local newspaper that someone has torched the Klan headquarters. She warns, “Watch out for them, mister, those Klan boys. They’ll get you. You’re not a hundred percent American white Christian, you’re liable to find yourself some fine morning flopping around in some Safeway Dumpster, minus a few things.” As Ellard teaches Charlie the rudiments of English, he finds that “To teach is to learn,” and they mutually develop competence and confidence. A dark and stormy night leads to a day for surprises. Will it unify and empower the community or succumb to darkness and division? How they get there is a real surprise and invites the possibility of romance. Froggy (the dynamic John Richardson) frames the piece nicely with his unique perspective on the astounding proceedings. The set, designed by Sunshine Klein, creates the perfect psychological interior for the proceedings: a dusty ramshackle lobby where repair and improvements consist of plywood, decorative contact paper and duct tape. Skillfully directed by Roy Von Rains, the play maintains high energy, with delightful chemistry between the well-drawn characters. The ensemble cast valiantly skitters on the edge of absolute sincerity and extreme physical comedy to truly engage the audience. “The Foreigner” plays through May 21. For more information and to purchase tickets, call the box office at 541-535-5250 or visit camelottheatre.org. Evalyn Hansen is a freelance writer based in Ashland. Reach her at [email protected] or visit her blog: ashlandtheater.wordpress.com.