‘Delancey’ finds charm; ‘Tuna’ satirical classic

By: Russ Simmons, Theater critic

CROSSING DELANCEY

Of all the qualities that a playwright can strive for, “charm” is certainly one of the most elusive. Often, these attempts come off as overly sentimental or downright cloying.

Even when the writer is successful, the ball is frequently dropped in performance. Sometimes the director aims for the laughs instead of the truth. Sometimes the actors work too hard and burden the piece with heavy emoting or gag-oriented mugging. The end result is saccharine instead of winsome.

Fortunately, the Olathe Community Theatre’s production of Susan Sandler’s comedy “Crossing Delancey” avoids most of these pitfalls. This lighthearted romance achieves a delicate balance between the sweet and the sappy.

Set in Manhattan in the late 1980s, “Crossing Delancey” tells the gentle story of a young Jewish woman named Isabelle (Linda Wells) who yearns for independence and the modern ideal of romance.

While working in an East Side bookstore, Isabelle develops a crush on a novelist named Tyler (Josh Davenport) who frequents her shop. Her romantic fantasy is so advanced she is having difficulty imagining herself with anyone else.

Worried that Isabelle may become an old maid, her grandmother Bubbie (Irene Blend) decides to take matters into her own hands. She engages a marriage broker named Hannah (Martha Maggio) who matches Isabelle up with a pickle vendor named Sam (Bill Pelletier).

The rest of the action involves Isabelle’s resistance to her loving grandmother’s efforts as well as to Sam’s persistent attempts to woo her. Can an average Joe win the heart of the lovely lady when competing with a handsome, suave novelist?

You already know the answer, of course, but the players and director Nancy Eppert take us to the inevitable conclusion in pleasant fashion. Although Blend is splendid in the play’s showiest part, Pelletier shines in the more difficult role, that of a nerdy guy whose best quality is his inherent decency.

It may seem like faint praise to call “Crossing Delancey” charming, but the fact that they have managed it is an impressive feat in itself.

 “Crossing Delancey” runs through May 24 at the Buddy Rogers & Family Playhouse, 500 E. Loula, Olathe. For information, call (913) 782-2990.

GREATER TUNA

Not all of the corn in Texas is being processed into ethanol. Some of it is being transformed into laughs at the Chestnut Fine Arts Center.

The current Chestnut production is “Greater Tuna,” the famous two-man show written by Jaston Williams, Joe Sears and Ed Howard that has become one of the most frequently produced plays in American history since its debut in Austin, Texas, in 1981.

Bob Hart and Bill Case enthusiastically take on 20 roles, male and female, in this wacky satire that lovingly pokes fun at the denizens of Tuna, “the third smallest town in Texas.” Directed by Shelly Stewart, this spoof features humor that is as broad as the Lone Star State.

While the humor is mostly affectionate, there is also hard edge as the play slyly takes on bigotry and religious intolerance in small-town America. Although the energetic actors skewer their characters’ foibles, they also respect their humanity.

Hart makes an impression as Bertha Bumiller, the leader of a community group against smut, as well as her Aunt Pearl, who has a bad habit of poisoning the neighborhood dogs.

Case has fun as wannabe cheerleader Charlene Bumiller and as Petey Fisk, the local leader of the humane society.

Libby Bradley deserves special notice for her amusing and functional costumes. The quick changes are so impressive that director Stewart has dressers Terry Babbitt and Betsy Sexton come out with the actors for a curtain call bow.

“Greater Tuna” ably demonstrates that there is still plenty of foolishness to skewer in small town America.

“Greater Tuna” runs through June 1 at the Chestnut Fine Arts Center, 234 N. Chestnut, Olathe. For information, call (913) 764-2121.