Neil Simon’s “The Odd Couple,” produced by Tred Avon Players (TAP) and currently playing at Oxford Community Center, may be one of the most successful of Simon’s plays – and considering his long and fruitful career, that’s saying a lot.
The basic concept is simple – two friends who are very different and the conflicts that occur when they become roommates. One is fastidious, the other a carefree slob. But how many Broadway plays of any era have spawned not only a hit movie but three TV sitcoms – plus various other spin-offs including an animated cartoon and a TV sitcom version (by Simon himself!)
Simon’s play, which premiered in 1965, features mismatched roommates Felix Ungar and Oscar Madison – the one an uptight “neat freak,” the other an easy-going slob.
The original production starred Walter Matthau as Oscar and Art Carney as Felix. The play took home four Tony Awards: Best Actor (Matthau), Best Author (Simon), Best Director (Mike Nichols) and Best Scenic Design (Oliver Smith). Matthau reprised his role in the 1968 film, with Jack Lemmon taking the role of Felix. And in the long-running TV series (1970-75), Matthau was replaced by Jack Klugman and Tony Randall played Felix. For some unknown reason, the TV series changed the spelling of Felix’s name from “Ungar” to “Unger.” At TAP, they stick to the original.
In this female version, the fastidious roommate was played by Sally Struthers of “All in the Family” fame where she played Gloria, the ditzy daughter of Archie and Edith Bunker and “Meathead’s” wife. Rita Moreno, who is well-known for her role in “West Side Story” played the messy roommate. Moreno is one of only twelve performers who have won an Oscar, an Emmy, a Grammy, and a Tony. This is definitely a story concept with characters that have drawn major talents over the decades.
The plot revolves around the personality clash between the two roommates – Oscar’s life, like his apartment, is a shambles, with unpaid bills, broken appliances, and a failed marriage, but he takes it all in stride, although he gets a bit misty eyed when his five-year-old son calls him on the phone. Meanwhile, his fellow journalist Felix is a hypochondriac who fusses over every detail of his life. Everything must be just so! Felix upbraids himself – and everyone around him – when things are not up to his impossible standards. Every glass must have a coaster. But he’s a terrific cook! The situation is ideal for comedy – in fact, it’s been used or adapted many times, including in the current TV hit, “The Big Bang Theory.”
The play opens at the Friday night poker game in Oscar’s apartment in New York City, sometime in the early 1960s. Four of the six regulars are at the table. The interplay between the characters and several comic bits – the soggy potato chips and “green” sandwiches Oscar brings the other players, due to a broken refrigerator – make it clear that Oscar is a complete slob and living on the edge of financial disaster. As the evening goes on, it becomes evident that one of the regular players, Felix, is missing – and then they find out that Felix and his wife are getting separated. Now they’re really worried.
But then Felix shows up, quite late, and everyone feigns indifference as he wanders about the room, clearly at his wits’ end. Oscar offers him a bed for the night, and Felix accepts – and after the other players leave, he offers him a place to stay. The basic premise of the play is now set up – in effect lighting the fuse for an explosion the audience senses is bound to happen. But, of course, it would spoil the fun to give much more away.
The Tred Avon Players’ production, directed by Ed Langrell, assembles a reliable cast of regulars from local theater productions. Click on link for a Spy interview with the two lead actors, Bill Gross as Oscar and Bob Chauncey as Felix.
Bill Gross takes the role of Oscar, Loud and physical, he is convincing as a macho ‘60s sportswriter. He does a good job of portraying the character’s growing annoyance with his fastidious roommate, despite his carefree attitude toward most of the rest of his daily life.
Bob Chauncey projects a nice nervous energy as Felix, capturing the suggestions of femininity as the character cooks, cleans, and performs the other duties of Oscar’s missing wife – and reveals an emotional softness that must have seemed far stranger in 1964 than it does now. He is a snappy dresser and his hair looks perfectly sculpted. Chauncey is hilarious when he loudly attempts to clear his sinuses,
While Felix and Oscar get star billing, the rest of the ensemble plays an important part in the play. The four poker buddies – all recognizable New York character types – are very well cast.
Patrick Fee does a fine job as Murray, the street-wise cop with a heart of gold. His mobile face and physical presence are just right for the character. A solid job by one of the Shore’s more versatile character actors. Most recently, he played Bottom the Weaver in Shore Shakespeare’s production of “Midsummer’s Night’s Dream.”
Roy, Oscar’s accountant, is played by Paul Briggs who deftly shows his character’s exasperation and concern about Oscar’s irresponsible finances. Briggs holds his nose and drops the stinky garbage out the window. But he keeps his feelings in check when Felix appears, becoming reasonable and pragmatic when it is needed, just like an accountant.
The cynical Speed is played by Brian McGunigle, who is now completing an impressive run of five roles in a row in plays varying from Shakespeare’s “MacBeth” to Tred Avon’s “A Man of No Importance.” His character’s feigned indifference is well conveyed. But of course, Speed really does have compassion for Felix and McGunigle makes these two seemingly opposite emotions believable.
Zach Schlag is cast as mild-mannered Vinnie, whose henpecked home life is a contrast to the broken marriages of the two main characters. The character’s pliability is the source of several entertaining bits, providing great physical comedy as Vinnie slips and falls while frantically racing around the room to help save Felix. Although he doesn’t have as many lines as some others, his expressions can be hilarious as he reacts to the other characters.
Lisa Roth and Anna Kusinitz-Dietz play the Pigeon sisters, Gwendolyn and Cecily. The sisters, a divorcee and a widow, are originally from England and now live in a neighboring apartment. They have taken quite a shine to the roommates. Their interactions with Felix and Oscar are a fine bit of Neil Simon comedy, well acted by the sisters as they flirt mischievously or cry copiously. Their giggles and glances are infectious and the audience loved them. On Thursday night when we were there, the audience broke into spontaneous applause as the sisters left the stage. It was not the end of the scene.
The set, consisting entirely of Oscar’s living room, is worth walking up for a closer look at intermission or after the play closes – details such as an old manual typewriter and a beat-up baseball glove are letter-perfect. The subtle changes in the room as Felix’s “neatnik” influence begins to be seen are nicely done, as well. The costumes are also right on – especially the Pigeon sisters’ early-‘60s colorful dresses with bright, shiny pocketbooks and knee-high boots, Oscar’s #7 Yankees jersey and Speed’s Hawaiian shirts. The soundtrack – designed by Fee – has a nice selection of period-perfect music. A pleasure to see the little touches so well taken care of.
The 50-plus years since the play was written are evident in many details of the plot and dialogue. For example, it’s no longer that unusual for a man to be a good cook – as Felix is. The sums of money mentioned – 34 cents for a pack of cigarettes, for example — are vivid reminders of what inflation has done, while the characters’ concern over the cost of a long-distance phone call is a historical curiosity in today’s era of unlimited cell phone plans.
And hints – quite humorous hints! – that the relationship between Felix and Oscar echoes their failed marriages, probably seemed edgy if not outright taboo in the early ‘60s. The uptight culture associated with the 1950s lingered into the early ’60s. Hippies hadn’t happened yet and the sexual revolution was still on the horizon. Simon was exploring new territory. He used comedy to explore relationships and situations that would raise few eyebrows today but were uncomfortable for most people at the time. Divorce, separation, alimony, all these were looked upon very differently then than now. Those who lived through those times will find the contrast from today both interesting and amusing; younger audiences may find it an entertaining history lesson. But this is all subtext, the play is a comedy about relationships and surviving breakups, whether it be with spouses or friends. It asks whether people can change and grow. And it ends with hope and a laugh.
There were plenty of laughs in the large audience for Thursday’s performance, which director Langrell described as a “pre-opening” opening. If you’re in the mood for a classic comedy, with nostalgia for a different time, it’s well worth the trip to Oxford Community Center, 200 Oxford Road. It’s about an hour from Chestertown or 15 minutes from Easton. The play runs just over two hours. Remember it starts at 7:30 not 8 p.m.!
“The Odd Couple” is playing through August 20. Shows on Thursday, Friday and Saturday are at 7:30 p.m.; Sunday matinees are at 2 p.m. Admission is $20 for adults, $10 for students. Call 410-226-0061 for reservations – which are strongly recommended, judging by the sizable audience Thursday. This Sunday’s matinee, we are told, is practically sold out already!
Photos in this article are courtesy of Randy Bachand. Thank you, Randy!
Check back – we’ll be posting more photos.
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