WHAT: The Roosevelt Hotel Romp
WHERE: New Hampshire Theatre Project, produced by Carpe Diem Inc
BLURB: Tomfoolery
HIGH POINT: The Utter Silliness of it All
The Roosevelt Hotel Romp is a marvelously ridiculous frolic of folly, pure George Hosker-Bouley.
Hotel Romp is everything we've come to expect from this regional playwright - misdirection, misconception, outrageous characters, preposterous situations, and anything else that might elicit a belly laugh.
Hosker-Bouley's plays are about getting as crazy as you like as long as the laughs roll - which is what this hi-jinx, farcical, tomfoolery achieves.
Hotel Romp's first act is one of Hosker-Bouley;s best crafted. Character introduction and scenarios engage and move smoothly.
The second act isn't as tightly penned, but it's pretty much irrelevant as the script's zany and bizarre accelerates, and it's all about following the bouncing ideas.
Once again we're treated to an elaborately decorated set by Michael Hosker Bouley; this time it's a grand hotel lobby.
The establishment is owned by Aloysius Baron (Hosker-Bouley), who has just learned that a major critic (Todd Fernald) is arriving under an alias to critique the hotel.
In addition, unbeknownst to him, his wife Roselle (Katy Hunt), who he detests, and son Bertrand (Carter Short) plan to lunch at the hotel to announce Bertrand's engagement and introduce Maxine, the fiancee (Heidi Gagne).
Maxine's parents are also invited, but only mom Patricia (Danielle Erwin) attends, as dad is out of town.
And, of course, all manner of mayhem ensues, with bellhop Henry (Christian Rohabacher) and guest Gale pulled into the mix.
Secrets are revealed, crazy characters come to light, and there's lots of twists and turns.
While not a musical per se, the production contains a musical element. Hosker has put words to old classic tunes, which are sung by the cast to advance character and tale.
One can say no more. It's important to experience the unfolding, the reveals are a key part of the night's fun.
The cast - well they're just having a ball, you feel it, and you go along for the ride.
Performances are solid to wonderful. Everyone sports a standup voice, with a few marvelous ones.
Hosker-Bouley proves a smooth operator with his portrayal of Aloysius, ever the polite ringmaster, with sass and brass.
Hunt delivers a solid performance as Roselle, the shrewish wife - a real piece of work that one, though she did appear tentative at times opening weekend.
Gagnon puts the crazy in Maxine - just a happy, unhinged character that lands perfectly. She also brings a strong, lovely voice that fills the room.
Erwin's Patricia is the more earthy character. She certainly has her edge and hutzpah, but she brings the needed balance to her own and others' characters. It's a smart piece of work.
Short as Bertrand is a relative newcomer to the professional theater. this character is one of the more outrageous, therefore difficult balancing act. It's a reasonable performance, and one that brings a lot of promise. In addition Bertrand adds a particularly beautiful, clear voice, a true pleasure that leaves you wanting more.
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