'Beyond Belief' sharp, funny

Saturday, October 02, 2004

By FRED SOKOL

Theater writer

SPRINGFIELD - "Beyond Belief," filling CityStage with laughter until Oct. 10, had its inception when playwright Jack Neary submitted a 10-minute vignette for the Boston Theater Marathon five years ago. Expanded to a full 2 hours, the current show features pinpoint performance and the very best in comic timing.

CityStage collaborates with New Century Theater and Ann Baker as Neary directs his play with precision. The action takes place on the porch of an old New England home and at a nearby tavern. Many scenes transpire since 1998 as individuals in their senior years converse about sexuality, mortality, the Catholic Church, and, quite delightfully, their relationships with one another.

A younger man (Andrew Dolan ) introduces a series of snapshots. The first is flat-out hilarious at times as it draws a bead upon Monica Lewinsky, Bill Clinton, and the topic of oral sex. Sitting next to one another upon white plastic chairs on the porch are: Gert (Marina Re), Alma (Ellen Colton), and Marjorie (Cheryl McMahon)…The punch lines are…imaginative and fresh.

Two old friends, Leo (John Davin) and Pat (Richard Snee) sit next to one another at the bar and examine the ramifications of Leo's failing libido. These guys are absolutely riotous as Leo wonders aloud whether or not Viagra will lift his spirits.

A few years later, as the women congregate once more, Alma asks, "How can a man be sexual with another man?" Through her combination of naiveté and ignorance, Alma charms all. The three ladies attempt to define "ménage a trios." At one point Gert advises that Marjorie is "about as comfortable as a nun at a stag party." Neary has a knack for injecting one-line gems at appropriate moments.

Next, Leo cajoles Pat with the story of the red-headed female pastor who lured him to her Foxwoods room. Pat plays the deadpan foil with enviable dexterity.

Gert is the toughest of the women while Marjorie is sexually conservative in her outlook. Actresses Re and McMahon, respectively, possess facial looks which speak volumes. Unhurried, they allow silence to carry on while less proficient performers might very well rush dialogue. Much praise, then, must be accorded these seasoned professionals who are masterful with their deliveries.

The second act of the play provides for higher drama as Neary's tone and choice of subject matter grows serious. The scandal centering upon Catholic priests becomes pivotal.

The show concludes as all cast members join voices for a sweet rendering of the theme song for "Beyond Belief," the rock and roll classic, "Only You." The entire opening night audience rewarded fine work with a standing ovation.

Neary has been an active presence in Western Massachusetts theater. This is surely one of his finest efforts.