From the first glance, audiences at the Chamber Theater production of Boeing, Boeing are transported back to the swinging 1960s. Lighting a-go-go decorates the stage with an assorted bunch of daisies, reminiscent of the old TV show, “Laugh In.” One recalls the TV show’s set of myriad windows that pop open just long enough for a character to deliver a laugh line. However, the set of Boeing, Boeingis dotted with a row identical doors, not windows. As one soon finds out, it’s the perfect set-up for farce.
It’s also the stunning Paris apartment that Bernard, a “Mad Men”- type American bachelor, shares with a trio of lovely air hostesses (as flight attendants were called then). But don’t expect a ménage a quatre. Barnard uses a global airline timetable to keep the girls oblivious to each other’s existence.
Here’s how it works: When one of them departs to a faraway destination, it’s almost time for another to arrive. This orchestrated deception requires precise timing. To pull it off, Bernard (played by Chicago actor Brian J. Gill), needs the assistance of his ever-present maid (Marcella Kearns). The grumbling, existential maid must keep changing the menu, wall photos and assorted knickknacks in order not to arouse suspicion.
Key to the plot is that all three air hostesses believe they are “engaged” to Bernard. Bernard shares these details with an old male school chum from Wisconsin who shows up unannounced at his apartment. Bernard tells Robert, his friend, that he “adores” all three women. In fact, Bernard mentions that when he buys one of his finance’s a small gift, he buys three identical ones so that no one feels left out. Robert (Ryan Schabach) is flabbergasted at Bernard’s unusual approach to romance. “We don’t do things that way in Wisconsin,” he notes, igniting an uproarious response from the Milwaukee, Wis. audience. (Throughout the play, Robert makes similar comparisons between Paris and Wisconsin. Each one is greeted with an appreciative chuckle from the audience.) In Bernard’s defense, his strategy isn’t as odd as it may seem. In the 1960s, “air hostesses” were selected by the airlines based on their youth, beauty and sex appeal. A fair number of these girls took these jobs in order to meet wealthy businessmen (like Bernard) who would sweep them off their feet and into a life of luxury.
As a play, Boeing Boeing took its time in catching on with American audiences. Its history includes a disastrous 1965 Broadway opening, a years-long London run and a triumphant, Tony-winning 2008 Broadway revival.
Interestingly, two of the actors who eventually played the Wisconsin character on Broadway originally had ties to the state. Bradley Whitford (TV’s “The West Wing”) was born in Madison Wis. And British actor Mark Rylance (TV’s “Wolf Hall”) spent part of his youth growing up in Milwaukee. Rylance won the 2008 Tony for Best Actor in a Play for his performance as Robert in Boeing, Boeing. Getting back to the play: Eventually it’s up to the naïve Robert to keep the farce afloat. Following the agonizingly long, 90-minute first act, Robert does the heavy lifting when one of the three fiancées arrives earlier than expected. One of the funniest scenes is when Robert meets Gretchen, the German. Barnard isn’t home (he’s out with one of the other girls, in fact), so Robert has to convince Gretchen that her lover is away on business. Another good sequence comes when Barnard and the Italian fiancée return from dinner, not realizing that the German is unpacking in the bedroom. Robert goes to such great lengths to alert Barnard without arousing suspicion that he practically pops a blood vessel. This is farce at its foolish best, and Schabach displays a wonderful grasp of physical humor as the confused Barnard looks on. It is only when the Italian decides to touch up her make-up (in another room) that he can set Barnard straight. Barnard almost becomes unhinged at the news. And the American fiancée still hasn’t shown up yet (as one knows she will).
The air hostesses here play their parts to a “t.” They are color-coded, according to the airline they work for. There is Anne Wakaszek, playing the ditsy American; Amber Smith, the sulty Italian; and Samantha Sostarich as a dominating German. They are each ideally suited for their roles, giving their one-dimensional characters enough charm to delight the audience (as well as Bernard and Robert).
But the play’s big surprise is Marcella Kearns as Berthe, the maid. Her deadpan humor comes close to stealing the show. As the girls start appearing at the end, Berthe decides to quit the charade. She packs her bags and heads for the door. She relents only after Barnard’s pleading, plus his promise to change his amorous ways.
It must be noted that the plot’s exquisite set-up is mirrored in a Calder-like mobile dangling above the set. The three moving blobs–in red, yellow and blue - represent Barnard’s intention; objects that hover near each other, never to intersect. If only life were that easy.
