Vonnegut’s ‘Valentines’ treat audiences

Tom Titus

Those who have been involved in community theater or who have served

in the military -- like your correspondent in each case -- should be

particularly enamored of “Valentines From Vonnegut,” two one-act

plays being presented at Orange Coast College.

Kurt Vonnegut’s wry observances of these elements of life are

chronicled in his playlets, “Who Am I This Time?” and “A Long Walk to

Forever,” selected by the college’s Repertory Company for production

in the Orange Coast College Studio Theater.

The more ambitious offering, “Who Am I This Time?” centers on a

local theater group and its star performer -- a timid store clerk

who’ll become Petruchio or Stanley Kowalski when handed a script but

who reverts back to his own mousy personality once the play is over.

Anyone who has participated in community theater probably has

encountered someone like Harry Nash, a tiger on stage but the meekest

of introverts when he’s without a character to portray. Vonnegut’s

twist is pairing him with a young lady with pretty much the same

personality quirks.

At Orange Coast College, Stephen Gordon snaps back and forth

between these two extremes skillfully, and when matched with an

actress of equal range, Averie Huffine, the dramatic sparks ignite a

furious conflagration. Their confron- tation in scenes from August

Strinberg’s “Miss Julie” is exhilar- ating to watch, since Huffine

gives as good as she gets on stage.

Dan Barnard keeps things on an even keel as the play’s

director-narrator (the real director is department chairman Alex

Golson). Pat Turner is a subdued managing director of the company,

while Samantha Wellen, Carol Lenchner, Jennifer Stoneman, Amy

Abbascia, Carolyn Newberg and James Barrett provide background

enrichment.

In “A Long Walk to Forever,” the spotlight is divided between an

Army private first class and a young lady rehearsing her wedding

vows. Only after he goes AWOL to see her do we learn that she’s

engaged to someone else.

Christopher Geer delivers an earnest account of the soldier, while

Courtney Barr is fine as the properly conflicted girl he once left

behind. Whether she’ll change her mind or not is reserved for the

last few minutes of the play.

Alyson Hanebutt directs with a nice sense of balance between the

male and female viewpoints. One word of technical advice: Army

privates don’t salute sergeants, even if (as Barr’s hairnet implies)

the play is taking place in the 1940s.

“Valentines From Vonnegut” puts a premium on the expression of

ordinary human experience, taken just a bit over the edge into

theatrical territory.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.