Play Review:
You CAN take it with you, just come and see for yourself!

Well, Sir, you saw Alice and Tony. Carol Bennett was pretty spunky on stage, quiet, but got things done, kept things moving (and a good looker!) Biggar seemed a little awkward, mot than the script called for, I mean. One didn quite “feel for him,” especially in the third act.

Essie (Norma Elfner) was one of those earlier called Weird. Capital W, Sir! She real] pulled it off! What wiqi the clumsy dancing ar foolish expression! Would it be a compliment I say, ‘you have to be born with those a complishments?”

Now, Ed (Robert Berger) was Essie husband. He’s the one who tapped the tinkles played the xylophone, Sir. Ed was just kind “there” and somehow he seemed to fit wit Essie. And together they seemed to distract everybody else ... and the audience ... and probably that’s what they were. supposed to do!

Normally, Sir, that would be the end of Ut casting credits. But not in “You Can’t Take With You.” We haven’t begun to tap the talent of those oldies but goodies among The Concord Players (and some recent entries) who cajole the minor roles into capital performances.

Was it You, Sir, who said, “leave ‘em rollin in the aisles?” Now that I think of it, You probably’s didn’t. Well, Sir, You should have That second act took the cake! Leave ‘em rol. ing ... that opening night audience couldn’t eve leave their seats for a full three minutes afte the lights went on. They just sat there and laugt ed and laughed ... and laughed. And don’t forget they began the act laughing!

That was because Gay Wellington (Suzann Manzi) zonked them off right at the beeinnini with the most raucous guffaws imaginable. Wh could stop themself? In Your language, Sir. the rejoicing was respendent!

Then there was Boris Kolenkhov (Chris Davies) and Mr. and Mrs. Kirby (Irving McDowell and Belle McDonald) and Olga (Betsy Connelly.) You see what I mean, Sir? You’ve seen all of them before, Sir, so You know they’re top notch and can carry a scene single. handed. That’s what I mean by a homecoming.

That only leaves six other roles in the whole performance: Steve Wasserman as the internal revenue agent, Henderson; Bob Peters, Bill Siebert and Tom Ruggles as the G Men who burst in and arrested the lot (lucky you, looking down on that scene every night, Sir!); and Nancy Halpin as the maid, Rita, and Chuck Ainsworth as her “friend.” Now, Nancy and Chuck were character roles, not spots like the others mentioned here, and they added to the confusion and scramble.

Well, Sir, here we are again. Not much more needs to be said about The Concord Players se- cond production of their 56th season. Except that the whole thing was put together by a new director, Bob Bridges, who first came upon the scene with “Concord Conscience.” If I could make a suggestion, Sir, I’d say Bridges was worth holding on to.

The final thought has to be on that crazy. crazy set. Maybe I’m wrong, Sir, using words like weird and crazy about “You Can’t Take It With You.’ Am I wrong, Sir? How would You describe it ... cluttered Victorian? ... mid- century Mistake? curio-Collective? The design and construction crew must have doodled in delight before putting it all together.

Now maybe You can have the last word, Sir If anyone besides myself talks to You anymore dint You are inclined to reply, will You tell them that The Concord Players will have this zany production of “You Can’t Take It With You” on stage for two more weekends? The message is “be happy in your own sort of way.” As Grandpa said, it’s not the world that’s askew, it’s the people in it, You tell ‘em, Sir: these peo- ple have got it all!