Out of Order

Critiqued by Holly Bartges

Wow! Does he ever look spiffy, and smug? Why not? He’s secured a classy suite in the Westminster Hotel in London, England. As a Conservative Government MP during the Thatcher administration, his wife thinks he’s in Parliament in the midst of a heavy debate. Talking lovingly to his wife on the phone, of course, he’d rather be home with her as he wishes her a nice quiet evening. That’s Wade P. Wood wearing the mantle of Richard P. Wiley, a glint in his eye; a wry pleased-with-himself smile creasing his lips. Not the sort of smile a debate in Parliament would create.

Photo Wade Wood (Richard Willey) and Ann K. Flynn (Jane Worthington) in Denver Victorian production of Out of Order Photo Credit: Dell Domnick

This one moment will be the quietest in the Denver Victorian Playhouse’s current production of Ray Cooney’s hilarious British farce, Out of Order.

With a splendiferous cast, directed by Joseph Staab from Reno, Nevada, Out of Order demands perfect timing, definitive alive characters, well most of the time anyway, and high strung comedic moments. If one actor takes 10 seconds for a two second beat, the entire play will collapse and the ever-falling window will shatter onto the balcony. Won’t happen. Can’t happen. This cast has Out of Order tightly in their artistic grip with straight faces while very funny lines run ramped. A performance is not the time for an actor to allow the luxury of outwardly laughing at his/her own character’s funny lines. In a farce, the characters aren’t aware they are funny. They believe whatever happens Io them is dead on serious.

Generally to have the hotel Manager check on one of his hotel’s guests would be an honor. That means the guest is special. Of course, Richard Wiley is special. He’s a VIP. This Manager, wonderfully played by Dell Domnik, however always manages to show up at the most inopportune times. He sees things Richard would just as soon no one sees. There he is with his professional businessman’s face and professional businessman’s caring concerned demeanor, even when shock and confusion greet him just inside Suite 648. Domnik rallies as much fun to watch as is the Waiter brought to life by Kevin Kraft. Domnik may have to don the professional garb for the Manager because it’s his job, but the Waiter doesn’t, and won’t. Kraft artfully and craftily designed the Waiter with hilarious manipulative disgust toward the outlandish demands Richard places on him.

All of this interruption creates rampaged irritation for Richard who has a secret hidden in the bedroom.

Slinked in sexiness from head to toe, Jane Worthington (Anne K. Flynn), a beautiful secretary for the leader of the Opposition, would create massive destruction for Richard if she were to be discovered. Of course, she’s discovered, but Richard didn’t get to be in his station of life by being slow on the draw. Every story he tells, he speaks with conviction. What difference does it make if he confuses everyone else?

Finding a dead body complicates Richard’s hopeful romantic evening. The police can’t be called so he demands his assistant George Pidgen to come immediately. Austin Terrell assumes the harried role of George. Frustration curdles his edges. His mother can’t be left alone, Gladys (Amanda Goldrick), the woman who takes care of George’s mother can stay for a little while extra, but Richard insists George must get another suite and stay the night. Terrell applies wondrous fun, comedic moments allowed to know only partial truths as roller coaster confusion piles on top of roller coaster confusion.

George’s mother calls to check on her son, thinking she is calling a museum, and nearly has a heart attack when she hears tall tales spun for the sake of keeping the secret safe. What? She hears George is married? How can that be?

Maids appear at the strangest times, and this becomes the strangest time of all for a Maid to show up to change the bedding. Played by Fiona Turnbull, the Maid rides some of the funniest moments with high-flying hilarity locked in her deadpan expressions. She’s delightful. C’mon folks. She just wants to do her job, impossible as it may be.

George finds himself having to move from his suite to Richard’s via the outside balcony. The window takes on its own impudent personality falling whenever it pleases, not caring if anyone is crawling through it or not.

Seth Maisel comes uncorked as Ronnie, Mrs. Worthington’s suspicious husband. Following Jane to the hotel he has reason to believe his wife isn’t visiting her aunt with bronchitis, and this hotheaded Neanderthal is out for blood. Maisel is a marvel displaying undefined self-absorbed dignity in the most outrageous outfits demanded by circumstances. Maisel provides one laugh after another by owning Ronnie in free abandonment.

Photo Wade Wood (Richard Willey) and Kevin Craft (The Waiter) in Denver Victorian production of Out of Order Photo Credit: Dell Domnick

The Body played grandly by Wade Livingston isn’t dead after all. Greatly confused he innocently wanders off in a foggy haze. This sends everyone into a tight roped tizzy. A secret creates more rampaged hilarious secrets. By the second Act everyone involved carries a different story trying desperately to piece the erratic puzzle together.

Wouldn’t you know, Pamela, Richard’s caring and loving wife deliciously played by Ellen Long, feeling sorry for her husband all alone at the hotel, decides to surprise him for a romantic liaison. The wonderfully planned surprise turns Gladys into a boiling teapot.

Doors slam, the window slams, the balcony, closet and bedroom become noisy hiding places. Everyone believes a different story. Chaos erupts into chaos every second of every moment in this very elegant hotel suite.

Wood designed the set with only a couple of pieces of furniture. Since most of the stage is used for conflicted, confused chaos, he realized not a great deal of furniture could be used. Pictures highlight the gracefully decorated walls, and the set bows to its own elegance.

Cat Shelton designed the lighting that plays to its own carefree spirit, laughing during chaotic eruptions. Susan Lyles did an exquisite job of costuming the characters from dignified, to casual, to eye catching sexiness to eye catching close to nothingness.

Out of Order definitely should not be missed because of its brilliant Cooney writing that comes across crystal clear, to the outstanding cast who wraps themselves snugly and funnily in their wondrous characters, to the incredible fast clipped orchestrated choreographed Dance To Chaos, all for the sake of keeping a secret.

Out of Order

Written by Ray Cooney; Directed by Joe Staab