By Joanne Engelhardt
Although the glory days of comedians such as Charlie Chaplin and Buster Keaton are mostly distant memories, the charming little play called Chaplin & Keaton on the Set of Limelight is a fun way to remember that era. It runs through July 21 at The Pear Theatre in Mountain View.
Playwright Greg Lam cleverly weaves fact and conjecture into the story of how these two singular comics – who had never worked together before – get a chance to share a few fond memories. Chaplin invites Keaton to have a bit part in his film, Limelight, the last one he made in the United States for many years.
” … an absorbing evening of theatre …”
Lam, who is the administrator of The Pear Theatre’s Playwright Guild, has written full-length plays before, as well as shorter ones that he calls “comic romps.” In writing this play he took advantage of the close proximity of the Niles Essanay Silent Film Museum located across the Bay in Fremont. (It’s a fountain of authentic information about the Silent Screen era.)
Even people now in their 60s may have a challenging time recalling the travails that are depicted in this theatre production. That’s because Chaplin’s life spanned from 1889 to 1977. During the Silent Screen era, many movie fans didn’t even realize Chaplin was British because….well, films were silent!
It’s also likely that The Tramp – which Chaplin made in 1915 – was the peak of his popularity because from that point on, he and his depiction of that character were forever intertwined.
Lam’s play is set in 1951 after Chaplin has spent more than three years writing the script of Limelight. He heard that Buster Keaton (whom he had never worked with) was down-on-his luck, so Chaplin offered him a small role in his new film.
This production gets its authenticity in several ways. First, there are bits of “old-timey” grainy film that play occasionally on a screen at one side of the set. The set itself, created by Louis Stone-Collonge, is primarily Chaplin’s expansive dressing room, which he graciously shares with Keaton during the time his scene will be shot.
As Chaplin, David Scott is a marvel to watch. His performance is at times coquettish, demanding, effete, gracious, debonair, devious—and always in complete command.
David Boyll plays Keaton, and although he’s a credible foil to Scott, there’s no mistaking that this play belongs to Scott. Boyll’s Keaton quickly realizes he needs to pander to Chaplin’s ego, though he occasionally finds ways to deftly insert his own opinions here and there.
It’s interesting to sit in on the banter between these two long-time actors as they remember the Silent Screen era and the role each played in its popularity. At times, Keaton attempts to make a point about the value of movies, with Chaplin declaring that they’re primarily made to entertain the masses. He points out that the films he’s made that had more serious themes were mostly box office failures.
Two other fine performances deserve mention: Lorie Goulart as Beverly, Chaplin’s beleaguered, faithful secretary, and Selin Sahbazoglu, who plays the dual roles of actress Claire Bloom as well as Chaplin’s wife, Oona Chaplin.
As Claire, Sahbazoglu tells Chaplin how disappointed she is that she’s not allowed to ‘act.’ “You show me what to do and then I do it,” she pouts. Chaplin turns on his charm and tells her: “I can’t change after five decades!”
Johnny Villar’s take on The Tramp is spot on, though one could wish he wandered through the set twirling his umbrella and tipping his top hat more often.
Director Sinohui Hinojosa has a lot of balls to keep in the air here, but it’s obvious he directs his actors with intent – ensuring that Lam’s script is funny when it’s meant to be and poignant at other times.
Kudos go to costume designer Melissa Wilson for coming up with both men’s and women’s clothing that reflect the styles of the ‘50s. Sinjin Jones’ sound and lighting design work well in The Pear’s elongated seating structure.
Altogether it’s an absorbing evening of theatre, especially for movie buffs both young and old who hope to witness a bit of the magic of Charlie Chaplin and Buster Keaton.
The play runs two hours with one 15-minute intermission. Due to mature themes, The Pear advises that this production is not recommended for anyone under 13.
-30-
Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: joanneengelhardt@comcast.net
| Production | Chaplin & Keaton on the Set of Limelight |
|---|---|
| Written by | Greg Lam |
| Directed by | Sinohui Hinojosa |
| Producing Company | The Pear Theater |
| Production Dates | Thru July 21st |
| Production Address | 1110 La Avenida, Suite A, Mountain View |
| Website | www.thepear.org |
| Telephone | (650) 254 - 1148 |
| Tickets | $40 |
| Reviewer Score | Max in each category is 5/5 |
| Overall | 4.25/5.00 |
| Performance | 4.5/5.00 |
| Script | 4.25/5.00 |
| Stagecraft | 4.25/5.00 |
| Aisle Seat Review PICK! | YES! |