Photo: Jean-Denis Labelle

The generation gap is at the core of Come Blow Your Horn, Neil Simon’s debut play, first performed in 1961. Like many of the prolific playwright’s later scripts, this comedy is semi-autobiographical, highlighting his sometimes difficult relationship with his older brother and his father.

The ambivalence of his feelings for his older brother is clearly demonstrated in Come Blow Your Horn when 21-year-old Buddy (a.k.a. Simon) leaves the parental home to move in with 33-year-old Alan and emulate his playboy lifestyle. In addition, the sense of responsibility Alan feels for Buddy comes through loud and clear, which is why a number of his actions and words in Act II are a carbon copy of their father’s words and gestures.

In the Classic Theatre Festival production directed by Laurel Smith, Matthew Gorman as Buddy and Lindsay Robinson as older brother Alan are on a seesaw between characterization and caricature, combined with heavy and periodically irritating Brooklyn accents. Fast and funny, but not entirely convincing and never moving, they play up the comedy and play down the reality.

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This autobiographical comedy explaining why Alexander (Sandy) Gibson chose a career as a French teacher in elementary school has the ring of truth, even with a little hyperbole thrown in.

Despite a little gentle mockery, there is affection in his characterization of his mother. Gibson offers her a bouquet of thanks for putting him on the right road to becoming a passionate, rather than an adequate teacher, and delivers the description of life in portable #3 with highly expressive punch and energy.

Gibson has an attractive stage presence and Portable #3; Not just Another French Class is not just another navel gazer.

Well worth seeing.

Portable #3: Not Just Another French Class

By Alexander Gibson and Matty Burns

SDT Productions, Ottawa

Plays at Arts Court Theatre

 

Carolann Valentino is a high-energy performer, who presents an in-your-face portrait of managing a New York steak house via a series of cameos of the characters she meets along the way, while she waits for her big break in show business.

While there is no doubt about Valentino’s talent and tornado force, her decision to embarrass three men from the audience in the interactive section of the show is questionable.

Not everyone likes their humor this raw and pushy or their steaks this blue.

Burnt at the Steak

Written and performed by Carolann Valentino

Carolann Valentino Productions, New York, NY

Venue: Academic Hall

Touch and Go.  Photo by MAria Vartanova

Those who see the sexual humor in references to coq au vin or dishes of nuts are likely to be amused by Derek Benfield’s 1982 bedroom farce about two adulterous couples busily swapping partners.

The arrangement at the centre of Touch and Go is that George lends his apartment to his friend Brian once a week for a sexual encounter with his current amour, Wendy. While Brian is safely otherwise engaged, George has his own amorous adventure with Brian’s wife, Hilary. Only when George’s wife, Jessica, returns early from a trip to the U.S. and the five meet for dinner does the “perfect” arrangement threaten to unravel.

The Ottawa Little Theatre production, directed by Geoff Gruson, is extremely well choreographed. Entrances and exits are carefully timed to allow characters to miss each other on the two-part set, designed by Tom Pidgeon, as the lighting, designed by John Solman, rises and falls precisely as required.

Despite the predictability of the intentionally silly script, there are some very funny moments, thanks to the careful work of cast and crew. For example, at one point, Jarrod Chambers as the slightly compulsive/obsessive George, outfitted in a dressing gown with a leopard-skin motif, hides by spread-eagling against a leopard-skin wall hanging. In a fine piece of stage business, his second attempt at repeating the hiding-in-full-view is even funnier.

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