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PAGE 16 THE SOUTHERN ISRAELITE September 26, 1986
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HOURS. Mon thru Sat. 10-7
by Fay Bright
The AJCC Center Players opened
its 1986-87 season Thursday, Sept.
18, with Neil Simon’s first full-
length play, “Come Blow Your
Horn.”
First produced in I960, the play
is as fresh as the current crop of
coming-of-age films and just as
entertaining. At 33, Alan Baker is a
typical “Little Boy Blue” of nur
sery-rhyme fame. He is flagrantly
neglectful of his duties as a son and
as a salesman in the family busi
ness. He excels as a ladies’ man and
all-around good-time wastrel. His
2l-year-old brother Buddy is tired
of working in the family’s waxed
fruit business, “...looking at petri
fied apples and pears and plums.
They never rot, they never turn
brown, they never grow old. It’s
like the fruit version of ‘The Pic
ture of Dorian Gray.’ ” Alan assures
Buddy that his days will be more
bearable if he bites the real fruit of
life at night. And that is why
Buddy appears at Alan’s door,
suitcase in hand. He wants to start
tasting—it’s research for his new
career as a writer.
Buddy has always been the good
son: earnest, conscientious, naive.
Harry Baker, their father, holds
Buddy up as an example to his
elder son, a device often used, inef
fectually, by parents. The father
calls Alan a bum! Alan retorts that
he is either treated like a child or
ignored when trying to participate
in the running of the family busi
ness. Alan says, “Admit it, Dad.
You don’t give me the same respect
you give the night watchman.”
Baker senior counters with: “At
In the final scene of the A JCC Center Players’ production of “Come
Blow Your Horn,” Eileen Reuben (left) shocks Nace Few into proposing
as a surprised Bebe Forehand, Stephen Clifford and Bill Greeley watch.
least I know where he is nights...The
day your brother becomes like you,
1 throw myself in front of an air
plane.”
Of course. Buddy does change
and Alan, seeing himself in Buddy,
becomes more traditional and con
servative, just like his father. The
plot centers on the revelations—
both comic and poignant—that
lead to their role reversal.
The production, directed by Ted
Manson, an actor as well as a tal
ented director, is bright, crisp and
fast-paced.
The physicality of actor, mime,
puppeteer Stephen Clifford’s droll
portrayal of the perfect son-gone-
wrong visually captured the con
straints of Buddy’s life. As the
wide-eyed, naive Buddy trying to
break away from the restrictions of
living at home and the pressures of
the family business, Clifford is
rigid and tight in posture and
manner. By the third act, the trans
formation is complete and the actor
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is every inch the bon vivant—from
his dark glasses to his elevator
shoes—that Buddy has become.
Edmund Kean said, “Dying is
easy and comedy hard,” but this
cast certainly made comedy seem
effortless. Especially good in sup
porting roles were Bill Greeley
(father) and Bebe Forehand (moth
er). Forehand, a veteran of many
Center Players’ productions, was
agitated and agitatingly hilarious.
In Act II, her frantic effort to take
telephone messages without the
aid of a writing implement is a
show stopper. Greeley, a newco
mer to Atlanta theater, was very
active on the stage up North. His
Harry Baker is tyrannical, opin
ionated, insulting and loving as
only a father can be.
Commercial and film actor and
print model Nace Few looked the
part of the handsome, debonair
Alan Baker. As the jaded playboy-
salesman-elder son. Few knew all
the right lines and how to execute
the right moves. It was in pro
nouncing the lines that he ran into
trouble. Many of his speeches were
unintelligible. His southern accent
was completely out of place for his
New York character.
Eileen Reuben and Kathi Fair
Pelliccione as the love and lust
interests, respectively, were delight
ful. Reuben’s Connie Drayton was
beautiful, charming and headstrong.
Connie, Alan’s favorite, is an in
dustrial show performer. One could
easily envision butchers crying
while she, dressed as a sausage,
sang “Why Not Take All of Of
Me? ”
Pelliccione’s intelligent por
trayal of what was written as the
blonde bimbo role kept the play
from seeming dated.
The play’s producer, Mary Lou
Lazarus, is most amusing in her
cameo appearance.
The cool palette chosen for the
graphically bold, tri-level set (de
signed by committee) and the beau
tiful or appropriately horrible cos
tumes (no credits given) was chill
ing but did not put the cast’s ebul
lient performance on thin ice.
The lighting—on and off—was
serviceable and ajways on cue.
If you like to laugh, don’t miss
this production of “Come Blow
Your Horn.” It runs through Sept.
28. For more information, call
875-7881.
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