Barefoot in the Park

Go for a walk ‘Barefoot in the Park’ and laugh at the cold

By DEBORAH SKOZEK | Woodstock Independent

What best brightens a cold and dreary spring? May I suggest, “The play’s the thing”? Woodstock Musical Theatre Company’s production of Neil Simon’s sparkling comedy classic, “Barefoot in the Park” provides two energy-packed hours of laughter, romance and for those of a certain age, nostalgic longing for the music and fashions of the 60s.

From beginning to end, the play is well produced and well acted, a truly successful ensemble effort.

 The clever and innovative set encompasses the entire stage and owes much to Kent Wilson, set designer and master carpenter, and Erin Denk, scenic artist/set dresser. The all-important skylight with a broken pane, essential to the play’s climax, is remarkable.

Thanks to Mary Beth Brown, Virginia Zymonas and Beth Davis, the furnishings, costumes and hairdos along with the 60s music, played before the play begins and before each of the three acts, transport the audience back in time.

 Played to perfection by the leggy and energetic Anne Dowd-Fisher, the beautiful and free-spirited newlywed Corie Bratter, bounces onstage, gamboling about the one-room love nest (five flights up not counting the stoop) she has rented and painted. Eventually, the serious and practical Paul, portrayed by the handsome Kevin Goss, makes his entrance, huffing and puffing. The two actors exhibit a most believable chemistry.

 Corie’s widowed mom, Ethel Banks, is played by seasoned actor Kathie Comella who makes great use of her physical and vocal skills to capture the essence of an understanding yet lonely mom. She is a wonderful foil for the spry and dapper Jim Pierce, who plays the foreign gourmand and ladies’ man Victor Velasco.

 Director Laura Schmidt uses the talented actors to great effect, including the burly Chris Warren as the empathetic telephone repairman, and hilarious Bob Riner, as an out-of-breath deliveryman. Light Designer Rick Amundsen, Stage Manager Ruth Zulas and Technical Coordinator Elaine Riner also earn kudos for all the small but important extras that go unnoticed unless they go wrong.

 The opening night audience laughed early and often. The young woman who accompanied me admitted that despite the slow beginning, she found the play most entertaining, developing a particular fondness for the rakish Victor Velasco. In addition, three couples seated behind me that saw me taking notes asked me to “Spread the word; this is a good one!” And so I am.