Farce Takes a Holiday, Leaving ‘Hotel Paradiso’ Vacant

LONG BEACH — French farce, the supreme example of the “boulevard comedy,” is ideally like a souffle, a delicate confection that is light and puffy and quite delicious when handled properly.

But director Ken Rugg uses a different recipe in his staging of George Feydeau’s “Hotel Paradiso” on Long Beach Playhouse’s Mainstage. The result is a “Hotel Paradiso” without whipped egg whites and even little air.

Rugg’s program quotes French philosopher Henri Bergson’s thoughts on the difference between situational comedy and character comedy, as though they are mutually exclusive. Shakespeare’s comedies, for example, are situational, but based on character, as are Richard Brinsley Sheridan’s, Noel Coward’s and Feydeau’s.

They are without exception light and puffy and point up Rugg’s misinterpretation of Bergson’s use of the word “vaudeville.” Rugg is thinking of the baggy pants and slapstick of American vaudeville, not the frothy Continental entertainment to which Bergson is referring.

The plot of “Hotel Paradiso” is inconsequential, involving clumsily wrought infidelities and misunderstandings, a concoction that begins in innocence and ends at the sleazy hotel in frustration and frenzy and a raid by the gendarmes.

It follows Feydeau’s usual airtight structure, the first act mostly exposition and the setting up of the playwright’s hilarious traps for his characters. The second act is riotous mayhem in the tawdry rooms and hallways of the hotel, where nothing salacious ever really happens. The final act ties up all the loose ends with the whole company smilingly innocent, at least in the others’ eyes.

None of the actors in this revival worry too much about character, which deprives them of many of Feydeau’s character-driven laughs. Under Rugg’s guidance they mug, prance about without purpose and seem to be looking about in vain for the slapstick that would suit their style. It’s sort of like Roseanne and Tom Arnold doing “Private Lives.”

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Closest to the restraint the genre needs is the performance of Jordan Elizabeth Dunn in the small role of Victoire, the maid, who winds up in the hotel with the virginal Maxime (a bland John Ferretti). Almost reserved enough is Reed Boyer as Cot, a builder sent to the hotel to investigate a rumor of ghosts.

The central figure, though, is Boniface, an architect who has wandering eyes, especially for neighbor Cot’s attractive wife. Michael Ross nearly bludgeons Boniface with his prancing and mugging; his quick, wise takes to the audience are the only subtle things in his performance. Susan E. Taylor as Madame Boniface and Linda Van Dine as Cot’s wandering wife are less obnoxious but still drastically overdone.

There is little excuse for the outrageous liberties taken by the others, particularly the pointless fluttering of John Gilbert’s stuttering Martin and the grotesque burlesque posturing of miscast Beverly Turner as the hotel concierge.

A heavy hand, and even heavier feet clomping across the stage, have allowed this souffle to fall flatter than a crepe.

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* “Hotel Paradiso,” Long Beach Playhouse Mainstage, 5021 E. Anaheim St., Long Beach. Friday-Saturday, 8 p.m.; Sunday and Sept. 14, 2 p.m. Ends Sept. 20. $10-$15. (562) 494-1616. Running time: 2 hours, 25 minutes.

Michael Ross: Benoit Boniface

Susan E. Taylor: Angelique Boniface

Linda Van Dine: Marcelle Cot

Reed Boyer: Henri Cot

John Ferretti: Maxime/Tabu

Jordan Elizabeth Dunn: Victoire

John Gilbert: Martin

Beverly Turner: Anisetta

A Long Beach Playhouse production of Georges Feydeau and Maurice Desvallieres’ farce. Directed by Ken Rugg. Scenic/lighting design: John H. Nokes. Costume design: Donna Fritsche. Millinery design: Greg Fritsche. Stage manager: Louisa Rocha.