A Funny Thing Happened On The Way To The Forum

Reviewed by Holly Bartges

In conjunction with Denver Center Attractions, The Denver Center Theatre Company takes the Stage Theatre in the Bonfils Complex to fictitious Rome 200 B.C.

(Top to Bottom) Ron Orbach as Pseudolus, Anderson Davis as Hero and Christine Rowan as Philia in the Denver Center Theatre Company production of A Funny Thing Happened on the Way to the Forum. Photo by Terry Shapiro

This production has everything going for it: a stunning cast, a gorgeous set, outrageous costumes, wonderful Stephen Sondheim music, a preposterous intricate plot filled with slap-stick hysterical well executed comedy.

However, there is something wrong, something not quite right. I am going to be deadly honest. I can’t put my finger on the area containing this production in the “Good” box rather than placing it into “Outstanding.”

Timing? No, the timing seems to be on target.

Characterizations? No, the character development by each of the actors appears to be slick, funny and in order.

Direction? No. Bruce K. Sevy’s direction for the madcap affair runs logically and clearly.

Lighting? No, the lighting designed by Don Darnutzer provides vibrant colorful startling effects.

The Set? No, the Set designed by Vicki Smith aptly clarifies who lives where and how allowing for hiding, quick exists and entrances.

The music? No, Lee Stametz’s conducting the orchestra kept the pace with Sondheim’s lyrical descriptive fun music bringing it alive creating its own dance.

Line interpretation? No, None of the actors seem to go for the “Funny” rather than allowing the characters to be who they are.

Cohesiveness? Perhaps. There does appear to be nano spaces when there shouldn’t be; not long obvious spaces, but spaces enough to call attention to something being wrong. Connection. Connection between the characters driving the production into a unit rather than individual performances.

It is no secret I am hard on comedy, and slapstick is my least favorite of all. Unless, it is exceptionally well-executed. I have a great appreciation for highly tuned well-executed slapstick just because it calls for finely-tuned talent to pull it off. I don’t think I have ever said this before, but there doesn’t seem to be enough captivating rollicking hilarious slapstick by the characters to keep this production on a long hearty laughing roll. On Opening Night, audience laughter came in spits and jerks. I don’t like comparing one production of a show to another, but I have seen performances of A Funny Thing where the laughter never stopped, almost to a point of irritation.

A Funny Thing opened on Broadway in 1962 running 964 performances and garnishing six Tony Awards for Best Musical, Best Producer, Best Book by Larry Gelbart and Burt Shevelove, Best Director, Best Actor in a Musical, and Best Supporting Actor in a Musical.

This raucous, risqué, flamboyant three ring Roman circus tells several tales at the same time with its central character as Pseudolus (Ron Orbach) a slave to Hero (Anderson Davis) the innocent and overprotected son of Senex, (Mike Hartman), an old henpecked husband who lives in the middle house with his overbearing, controlling bossy wife Domina (Kathleen Brady). Secretly Hero has fallen head over heels in love with Philia (Christine Rowan) a virgin living in the house of Lycus (Stephen Berger) a buyer and seller of courtesans. Philia awaits her buyer Miles Gloriosus (Glenn Lawrence). Hero doesn’t know much about the house next door. He doesn’t know much about love or sex, but he does know something happens to him when he sees the blond beauty on her balcony. Domina doesn’t think he needs to know anything. In her eyes he’s way too young to know anything, and what she says, she thinks goes. Her iron fist and boisterous voice say so.

Domina leaves to visit her mother accompanied by Senex although definitely not his choice. It is he who must carry the gift from Domina to her mother: a large bust of Domina’s mother. Pseudolus has been appointed to watch and protect Hero. The sly conniving Pseudolus sees his chance. He wants freedom more than anything else, and now’s the time to make a deal. If he can arrange to bring Hero and Philia together, would Hero give him his freedom? Innocent and naive Hero will do anything for Philia, and Pseudolus will do anything for his freedom.

A simple plan a simple plot, which, of course, doesn’t work any too smoothly. Senex returns to get the bust of Domina’s mother repaired before she finds out it has been broken, He’s coerced to use Erronius’ (Philip Pleasants) house. Erronius’ children were kidnapped many years ago, and the old man travels the world looking for them.

In the confusion Erronius returns and is sent on another journey, walking the Seven Hills of Rome seven times. Domina returns looking for Senex. Gloriosus shows up looking for Philia. With mass confusion and distraction running around loose out of its cage, Pseudolus becomes excitedly desperate, frustrated, and ever so more determined.

The comedy employs all of the tricks in the trade identified with slapstick: misidentification, hiding, deception, running from one exit to another, persuasion, pulling the wool over the eyes of whoever needs the wool pulled over their eyes, prank jokes, feigning death producing a body dressed as the coveted one.

Desperate situations call for desperate measures with Pseudolus running in five different directions at the same time and will take on 10 if he has to. His name, after all, from the Greek pseudo means false and he knows how to play the game. Hysterium, (David Ivers) a loyal slave to Domina and Senex finds himself caught in the middle having to constantly combine a calypsoed tango jumping to a Roman beat to keep his sanity. Salty persuasion, after all, is a highly tuned skill Pseudolus owns. The Roman Circus runs in circles also twisting vertically in 360 degrees. It’s success demands highly polished silly and ridiculous characters running full speed ahead with perfected timing.

This production of A Funny Thing Happened On The Way to the Forum contains everything required: a cast of artistic expertise bent to comical expectations, a set carrying the audience back to fictional 200 B.C. Rome, lighting to dance with raucous hilarity, outrageous costumes, sound direction, eye-catching choreography designed by Gina Cerimele-Meehley, but something of cohesiveness connecting the characters slip sideways out of sight.

Is it worth time, money, and energy to experience this production? Absolutely. The loud rib tickling laughter may be missing, but plenty of opportunity for smiles, giggles and soft laughter remains.