[yasr_overall_rating]
Artisan Center Theater takes us on a trip to the 1920s and the rumble tumble life of the Gilbreth household. Frank Gilbreth was certainly larger than life, even while he was living it. He and his wife Lillian were efficiency experts who aided factories and governments around the world in becoming more efficient. They applied their learning in the raising of their 12 children of whom they were enormously proud. His educational ideas were very creative. To teach his children about the planets he painted a scale drawing of the universe across the walls of their summer home.
He put victrolas in each bathroom for the purpose of playing foreign language records. The children were to play them while using the facilities. When his children were reluctant to learn morse code, he wooed them by painting it over their beds. He would write messages in code as to where to find a treat. The show’s director, Taffy Geisel, makes mention in the production program that she would have rather liked to have grown up in such a creative household.
The play was written by Christopher Sergel from the book by Frank B. Gilbreth, Jr. and Ernestine Gilbreth Carey. The two recount their experiences as two of the dozen children of industrial efficiency specialist Frank Gilbreth, Sr. and Lillian Moller Gilbreth, an organizational psychologist. Two characters, Ernestine, the second oldest Gilbreth child, and Frank, the oldest son, serve as narrators.
As Mr. Gilbreth becomes more and more obsessed creating more household rules, schedules and maintaining control of the household, his family of intelligent and resourceful children conspire against him. Not only do the boys talk him into purchasing a rather large dog but the three oldest girls, struggling for acceptance, demand to wear less dowdy clothing and enter the dating realm. Resulting events create chaos for the ever-efficient father.
Theatre lore has long warned of the perils of acting on stage with children and animals – they have a tendency to upstage even seasoned actors. This production is no exception. The majority of the laughs are elicited by just about the cutest bevy of children ever assembled on the Artisan Center Stage.
Although opening night seamed to find Richard Wooster (Frank Gilbreth – father) straining to remember lines, his performance as well as that of Amie Hamilton (Lillian Gilbreth – mother) were charming and very believable.
They are very nearly upstaged, however, by a couple of talented teenagers. Sarah Johnson shines as Anne, the oldest daughter who tests the limits of her father’s patience by wearing silk stockings and accepting dates with boys. Johnson toes the line between maturing young woman and rebellious teenager but stops short of making Anne a caricature of teenage raging hormones. Her looks of exasperation and horror, and delivery are pure teenage angst, not disrespect or hatred.
However, Alyson Kessinger as Ernestine, the second oldest daughter, is the scene stealer. Most notable is the scene in which Anne is accused of cheating by the perpetually crabby Miss Brill, the children’s teacher who drops by the home to administer a test. Ernestine and Martha watch helplessly as Anne faces accusations from the teacher. Overwhelmed with guilt, the two younger sisters try to take the blame and tears of shame and frustration perch on Ernestine’s eyelashes and threaten to run down her reddening cheeks. Kessinger, at that moment, steals the show. Everyone at that moment knows exactly how Ernestine feels.
Three minor characters wreak havoc on Mr. Gilbreth’s world while delighting the audience with their quirky antics. Gwendolyn Swinehart’s long-suffering Mrs. Fitzgerald fires back well-timed witty responses to her employer in addition to rearranging the set as she tidies up the home. Seth Fagan, draws chuckles as Joe Scales, the annoyingly flamboyant cheerleader and would-be suitor for Anne. Larry, the more suitable suitor, is less amusing than heartwarming but portrayed aptly by Thomas Holcomb.
The set, designed by Wendy Search-Wood, instantly creates a homey, welcoming atmosphere complete with book-laden shelves, period furniture accented with throw pillows and warm, rich color on the walls and curtains. Recorded music, including the scratchy sound commonly heard on old records, instantly transports one to a time when silk stockings are considered risque and only loose girls “paint” their faces.
“Cheaper by the Dozen” doesn’t have the audience laughing in the aisles, but it does draw one into the Gilbreth family, evoking wistful wishes for the father’s heart lasting long enough for him to see how well his 12 children grow up after a childhood filled with time-saving schemes.
At the Artisan Center Theater July 22 – August 20
I saw this show, opening night as well. I agree with your review. You were spot on. Thank you!