THEATER REVIEW : Shades of Naturalism in CSF’s ‘Blue Leaves’

John Guare’s “The House of Blue Leaves” is one of those plays that pops up in revival with alarming regularity. Alarming because it is one of the few survivors of the absurdist ‘60s and early ‘70s, when crazy passed for theatrical and logic didn’t stand in the way of social comment.

Guare began writing the play in 1966, but it was not ready for Broadway until the 1970-71 season. It reflects its time, and one has to put oneself into the frame of mind of that colorful era to hear what the playwright is saying.

Don Finn gives a current audience a large helping hand into the play’s inner personality and meaning in his understanding, finely shaded direction of Guare’s very black comedy at Cal State Fullerton.

He even accomplishes the impossible by giving it a naturalistic patina, with touches of tender, heart-bending pathos, and by treating the comedy honestly. There’s a good bit of Capra in this version of Guare’s caper, and that’s what makes it work.

Artie Shaughnessy writes dreadful songs (a tape of them is on sale in the lobby at intermission). He thinks they’ll get him out of his dismal rut taking care of animals at the Central Park Zoo, help him get a hand up from his old boyhood chum Billy, now a famous Hollywood director. During Pope Paul VI’s ‘60s visit to Manhattan, all hell breaks loose in Artie’s life.

His wife, Bananas, is primed for the booby hatch; his soldier son, Ronnie, has gone AWOL from Ft. Dix in order to bomb the Pope, and Artie’s ambitious girlfriend, Bunny Flingus, from downstairs, keeps him spinning in confusion.

Throw in three nuns who invade his flat because they can’t see the Pope passing, even from the roof, and Billy’s deaf ex-movie queen girlfriend. It’s a dizzying mix seen a quarter of a century after it first made Guare’s name. But Finn’s intelligent and empathetic touch makes it all work like gangbusters.

He has cast the show with affection and a sense of balance between the characters that brings out the honesty of his interpretation. James R. Taulli, overweight, anxious and bubbling with the enthusiasm of the born loser, is a fine Artie, down to the adrenaline-soaked performance of Artie’s tacky tunes--”Where is the devil in Evelyn? / What’s it doin’ in Angela’s eyes?”

*

Artie’s stereotypical Queens bimbo of a girlfriend looks fresh, and is very funny, in the restrained performance of Raylene Dodson, without flash, just the truth. The same restraint works well for Danielle Augustin’s ex-star Corinne, Raymond Hanis’ Hollywood phony Billy, and for the most part Gregory Beirne’s volatile Ronnie. Paris Bradstreet, Amy R. Schaumburg and Darlene Ann Anderson also hold their nunsense in check and are more effective for so doing.

But the performance to check out is that of Wendy Ham as Bananas, an integrated and rich characterization that is so honest that her moments of clarity and dimness blend into a seamless whole. She has style and insight and is a joy to watch.

Along with all the technical trimmings, Lara Hanneman’s setting is as naturalistic and effective as the direction, and John R. Fisher’s lighting, while often bright enough for the comedy, is capable of shading itself into something more interesting than just that.

* “The House of Blue Leaves,” Recital Hall, Cal State Fullerton Performing Arts Center, 800 N. State College Blvd., Fullerton. Tuesday-Friday, 8 p.m., Saturday, 2:30 & 8 p.m., Sunday, 5 p.m. Ends Sunday. $6-$8. (714) 773-3371. Running time: 2 hours, 15 minutes. James R. Taulli: Artie Shaughnessy

Wendy Ham: Bananas Shaughnessy

Raylene Dodson: Bunny Flingus

Gregory Beirne: Ronnie Shaughnessy

Danielle Augustin: Corinna Stroller

Raymond Hanis: Billy Einhorn

A California State University Department of Theatre & Dance production of John Guare’s play. Directed by Don Finn. Scenic design: Lara Hanneman. Lighting design: John R. Fisher. Costume design: Juan Lopez. Make-up/hair design: Abel Zeballos. Sound design: Denise Landes. Original music: Jeff Fairbanks.