Hilarity rises as playhouse’s ‘Underpants’ drop

TOM TITUS

German playwright Carl Sternheim first conceived the farcical comedy

“The Underpants” back in 1910, but it took Steve Martin’s familiar

wild and crazy touches to render the play falling-down funny for

modern audiences.

The Laguna Playhouse has seized upon Martin’s brief but broad

rendition in an Orange County premiere that will have audiences

laughing out loud -- particularly at the identifiably Martinesque

embellishments. Sample line: “I went to see a Sternheim play. (pause)

Wait for the adaptation.”

Director Andrew Barnicle’s 90-minute production, sans

intermission, will have playgoers chuckling so hard they’ll wish

there were a pause in the action. But that might slow the breakneck

pace at which Barnicle’s six-member company attacks this bit of

Teutonic burlesque.

The play’s turning point already has occurred as the lights come

up. The comely young wife of a government clerk, straining to see the

king passing in a parade, accidentally has allowed her unmentionables

to fall to the ground. Men who have witnessed this faux pas now are

lining up to rent the spare room in the clerk’s home just to enjoy

the proximity to -- and possible dalliance with -- the lady in

question.

This suits the clerk just fine -- he can use the extra cash. But

the idea of his wife entwined with one of the tenants is more than he

can fathom. Although just why is somewhat of a mystery, since he

hasn’t enjoyed her favors himself since their wedding night, and

their first-year anniversary is approaching.

Tom Shelton, as the irascible clerk, goes Martin one better and

puts his own updated (compared to 1910) interpretation on the

character.

His Theo is pure Ralph Kramden from “The Honeymooners” -- he does

everything but crack “One of these days, Louise ...” and his broad

gestures are pure Gleasonesque.

As his subjugated bride, intrigued at the possibility of an

extracurricular affair, Susan Duerden beautifully interprets the

vessel of purity about to overflow. Her thrusts and parries with the

unpublished Italian poet who covets her (Alan Safier) are

outrageously funny, as are Safier’s elaborate overtures.

Positively a scream as Duerden’s nosy upstairs neighbor, who lends

an enthusiastic hand in her plans to fit the horns on her husband, is

Deedee Rescher, whose vicarious excitement bubbles over beautifully.

Hers is one of those richly defined character roles that soars in

the hands of the right actress.

Ron Campbell is particularly enjoyable as the wispy barber who

attempts to mask his ethnicity by declaring his name is “Cohen with a

K.” Much of the pure physical comedy is entrusted to the seemingly

rubber-jointed Campbell, and he responds splendidly.

Returning to the Laguna stage after a lengthy absence, veteran

actor George J. Woods as a haughty prospective tenant places the

exclamation point on this madcap comedy. Red-faced and bewhiskered,

Woods is a mighty figure in a minuscule assignment.

The early 20th century setting by Dwight Richard Odle, who also

designed the period costumes, is rich in vintage detail. Paulie

Jenkins’ lighting is first-rate, and the background sound plot by

David Edwards establishes the proper atmosphere with some good

old-fashioned German oom-pa-pa music.

Steve Martin’s talents as a comic and playwright (“Picasso at the

Lapin Agile”) long have been recognized. “The Underpants” displays

his aptitude for adaptation with flying colors.

* TOM TITUS reviews local theater for the Coastline Pilot.