Das Barbecü

Reviewed by Holly Bartges

Brilliant or absurd? Depending upon one’s point of view, the Arvada Center’s production of Das Barbecü could easily fall into one or both categories. Actually, it’s absurdly brilliant in its concept and production.

Amanda Ryan Paige (Actor 3); Melissa Swift-Sawyer (Actor 2); and Laura Ryan (Actor 1) sing “A Ring of Gold in Texas.”

Yogi Bera once said, “Little League baseball is a very good thing because it keeps the parents off the streets.” He should have also added, “and keeps them entangled in each otherŐs hair.”

Hence, the premise of Rounding Third, written by playwright, Richard Dresser, currently playing at the Arvada Center for the Arts and Humanities through October 4, 2004.

Directed by Alan Osburn, the two-character production features Thomas Borillo as Don, and Kelly Walters as Michael. Rounding Third eclipses the promise of being an out and out hysterical situation when two diametrically opposed worlds clash on the Little League Field.

Both roles have been neatly boxed into stereotypical molds. Even so, the explosive clash lends itself to some very off-the-wall funny lines. The coach, Don, a dyed-in-the-wool Little League father, mechanically operates under the I-know-everything-there-is-to-know-about-baseball flag, and comes with the macho, brazen barking, growling voice. For him, winning is the only thing that counts. Michael would be far more comfortable in a glass cubical, with fingers firmly planted on a keyboard, and a phone in both ears, anxiously hoping to keep up with his boss’ orders. He comes to the field with thoughts of fair play, and every boy should have a chance to play, as well as play the position he wants whether he is good at it or not. Motivated by wanting to spend time with his son, he knows zilch about baseball, all the while controlled by the constant demands of the cell phone. Michael clings helplessly to an air of sophistication while Don probably couldn’t spell the word if a win depended up it.

Joseph Egan’s design for a portion of the set for a Little League field could be anywhere Anytown, USA, although indubitably slightly neater than the real thing.

The stereotypical personalities of the two closely dictate the degree the mismatched conversations will go. There are very few surprises throughout the course of the play. Out of the expectations, there are some very funny lines.

Borillo has captured the raspy voice of the beer guzzling Don. Even with his swagger and hip-clutching stance. Stopping short of giving into the full gruff and tough demeanor Don requires. Borillo points toward the character without actually engulfing him.

With his neat dress and ringing cell phone Walters shows us the business oriented Michael, but falls short of completing the persona with crisp deliberate moves. Because neither character is allowed full-blown attention, the contrast between them loses much of the punch-throbbed lines.

As a result, Act One drags while the actors race through their lines. By racing through their lines, the impact of their conflict lacks spit and vinegar. The lack of spit and vinegar waters down the humorous confliction between the headstrong misguided worlds. Both are reticent and just plain too nice. Some of the funniest lines get lost in the drag.

Act Two churns up the resolution of the conflict as both men realize they have more in common than they want to admit. They both put their pants on one leg at a time. Don has to face the reality his son would rather dance in Brigadoon than play baseball and Michael admits to having to fill the void with the death of his wife. By Act Two, Borillo and Walters grab onto the power of their characters finding their way in the rhythm of explosive humor. Act Two would have an even stronger impact if Act One revealed full blown humorous explosive characters.

This play demands two strong actors to carry the baseball equipment. Borillo and Walters have the punch required. They just need to find a way to let it out of the cage.