Neil Simon usually reveals our foibles, while making us laugh. I Ought To Be In Pictures explores the relationship between a father and his daughter, whom he hadn't seen in 16 years. Herb (David Gallagher) left his family in Brooklyn for the fast lane of motion pictures in Hollywood. Unannounced daughter Libby (Michelle DeFrancesco) enters his life. Herb, a writer with massive writer's block, is facing problems in his relationship with Steffy (Connie Terwilliger). What transpires, much of it in humor, is the development of a true father/daughter bond, albeit, with a very shaky beginning. Life decisions are made regarding both Steffy and Libby.
The scenes are set in a rather seedy, unkempt bungalow in West Hollywood. The dirty, marred walls are unadorned, the bookcase is a mess, and dirty clothes decorate the furniture. This is Herb's pig sty. Herb, like his home, is less-than well groomed. His lady friend, Steffy, is his opposite, properly attired whether dressed for bed or for work. Libby, an adventurous 19-year-old, enters in shorts with a backpack and meager bag.
Enter onto the local theater scene, direct from Canada, is Michelle DeFrancesco. And what an entrance she has made. Her Brooklyn accent masks anything Canadian. She is a rebellious teen out to explore her roots. DeFrancesco has complete command of her character. She handles Libby's range of emotions and moods professionally and convincingly.
David Gallagher has commanded many excellent parts in San Diego. His Herb is one of his very best. Herb is full of conflicts, fears, and a daughter he doesn't even know. Gallagher's subtle but physical interpretation of Herb is a delight to watch. Girlfriend Steffy gives Connie Terwilliger a new challenge. Steffy has the dual responsibility of being both a girlfriend to Herb and an older sister/mother figure to Libby.
David Wiener's set -- including a working sink -- clearly states Herb's situation. Karina Montgomery's set dressing and props complement and enhance the set. Lighting designer Bob Eisele aptly sets the mood; sound designer Michael Shapiro's work is again always professional, always right for the play. Costumer Bryan Schmidtberger's wardrobe selections further define each character.
