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'The Last Night Of Ballyhoo' Makes Us Think, Even As It Makes Us Laugh.
By Dave Irvin
IN DRIVING MISS Daisy, playwright Alfred
Uhry demonstrated that the issue of discrimination could be made
more poignant and piercing with humor. With The Last Night
of Ballyhoo, he tackles the problem a generation earlier,
adding irony to make the point even more subtle and salient. This
Arizona Theatre Company season finale has laughs, but it also
shows the insidiousness of "us vs. them" thinking. Within
a ditsy love story we can easily relate to, Uhry steadily chips
away at the very foundations of prejudice.
Set in 1939 Atlanta, Ballyhoo follows cousins Lala Levy
(Elizabeth Eidenberg) and Sunny Freitag (Tina Jones) in their
quest for love and happiness. Lala is an ugly-duckling prototype,
still living at home after dropping out of college in her first
semester. All dreams and no clue, Lala gets no further than the
opening sentence for the derivative romance novel she is writing.
Her alter ego is the bright and beautiful Sunny, home from college
for the holidays. Although we know that World War II looms, the
main concerns in this little corner of the world are the premiere
of Gone With The Wind and Ballyhoo, the annual local social
event.
This all-American household is rounded out by the girls' respective
mothers, widows both: there's the sharp-tongued but caring Boo
Levy (Jenifer Parker), and scatterbrained but insightful Reba
Freitag (Judy Jean Berns). And then there's Adolph Freitag (Tom
Ramirez), brother to Boo and brother-in-law to Reba. When Adolph
brings home handsome business associate Joe Farkas (Joshua Hutchinson),
a Yankee from New York City, the fun begins as Lala flirts with
the Sunny-struck Farkas.
This would be an inconsequential TV sitcom episode, except for
the real problem: underneath those Southern drawls and Brooklyn
accents, everyone is Jewish. In WASP Atlanta, the family has grown
so estranged from its roots that it proudly displays a Christmas
tree, complete with star, and can't even remember when Passover
is. In addition, the Freitag/Levy contingent is purely German.
In an artful twist, Boo dislikes Joe not because he's a Yankee,
but because his family hails from Eastern Europe.
Throughout, we get examples of Atlanta's German Jews discriminating
against what they perceive as their lesser brethren from Poland
and Russia. When WASPs ban them from the country clubs, they set
up their own clubs, and in turn ban non-German Jews. Of course,
as news of the war in Europe comes over the old Victrola, we know
that this inane splitting of hairs will be utterly lost on the
Nazis, who will murder millions indiscriminately.
It should be noted that Uhry writes from the autobiographical
perspective of his own family's origins in Georgia, just as Driving
Miss Daisy was patterned after his real-life grandmother.
That authenticity validates the premises even more as a story
he can legitimately and knowingly tell.
As Lala, Eidenberg skillfully manages to walk the line between
a character we dislike and one we could hate. She is mildly amusing,
but essentially harmless. When she finally finds a beau, we're
happy for her. The additional irony is that her quintessential
Jewish American Prince is a lazy rich scalawag with flaming red
hair, Peachy Weil (Aaron Hartzler). UA student Hartzler gives
a breezy jocularity to his role as a kosher carrot top whom we
feel assured will successfully squander his inheritance and be
an appropriate lifelong punishment for Lala.
Tina Jones and Joshua Hutchinson have real chemistry here. Their
performances are so engaging they could almost carry the simple,
obvious plot themselves. When you add in the depth they bring
to the serious material, especially Jones' emotional scene describing
her character's expulsion from a private pool as a child, Ballyhoo
touches us to the core.
Berns and Parker are a nice supporting team. Berns has an acid
tone and wears her anger and frustration openly throughout. She
also gets opportunities for numerous wordless reactions. Parker
plays blander, but gets funnier lines, and the contrast between
the two is well drawn. Tom Ramirez, however, is the scene stealer
here in his role as the wise male patriarch, lightly vexed by
a household of women. His insightful portrayal is the glue that
not only holds this stage family together, but anchors the performances
of various family dynamics.
The Last Night of Ballyhoo won the 1997 Tony award for
best play. Uhry gives us a masterful work, full of irony in service
to his story. Lines like, "Stop worrying about Poland and
start worrying about your own flesh and blood," and the Atlanta
Jews' faulty memory for common Yiddish words like "klutz,"
play well here. ATC director Ken Ruta fulfills the play's potential
with a controlled, well-staged production, complete with Americana
set and the ever-reliable assistance of dialect coach Dianne J.
Winslow.
The final coda, as the family reclaims its heritage in a telling
ceremony under muted lighting, moved many in the audience to tears.
Let's hope that Uhry continues to turn out works this profound
and entertaining. There's no more effective weapon against senseless
hate than what he and ATC give us here.
The Last Night of Ballyhoo, directed by Ken Ruta,
continues through Saturday, May 1, at the Temple of Music and Art, 330 S. Scott Ave. Evening and matinee performances are offered
Wednesday through Sunday. Tickets range from $19 to $28, with
half-price adult and $10 student rush tickets available one hour
prior to curtain. For information only, call 884-4877. For reservations,
call 622-2823.
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