?By Jeeves
A review by Patrick Shannon, III

By Jeeves, a recently splendid production of the Rivertown
Repertory Theatre, directed and performing in a major role with
panache and an obviously sharp understanding of English humor by
Gary Rucker was a triumph for Mr. Rucker and the entire cast. 
Sadly, this was Mr. Rucker’s last affiliation as director for RRT
and he left on a high level of accomplishment by giving us this
very charming, tightly directed show with book and lyrics by Alan
Acybourn based on stories by P. G. Woodehouse, with music by Sir
Andrew Lloyd Weber.

The plot is a typical “what mischief” can the British aristocracy
or well-to-do get into and out of without the help of their ever
faithful and very wise servants. They fall in love with the wrong
types or they perform many a social faux pas, and they don’t seem
to even have the sense to tie their own shoe laces, etc. It’s
satire of the British ruling class at its best.

Jeeves, as the male lead’s (Gary Rucker) man-servant was played
with a sharp clarity and neatly hidden superior wisdom as 
interpreted by the ever talented Vatican Lokey.  With a simple
raised eyebrow Lokey can make a comment on the foolish history of
his “superiors” that a 500 word commentary would fail to do.  Mr.
Lokey also did the visually crisp workable set design, and no
doubt some of the funnier props such as an auto circa 1920 made
out of found “art and kitchen throw-aways.”.

Jeeves’ employer is Bertie Wooster, played by Gary Rucker with
wide eyed charm and a mastery of character creation.  He’s the
typical British well meaning goof-off you can’t resist liking and
admiring who is totally dependent on his servant Jeeves for just
about everything. 

Keith Claverie did a fine job as Harold “Stinker” Pinker and T.
Joe Seibert was good as Gussie Fink-Nottle.  Edward R. Cox,
returning to the local stage after a Floridian hiatus, was a camp
and gave us a well drawn character as Sir Watkin Basset even
without any apparent attempt at a British accent.  P. J. McKinnie
was funny and frolicsome as Bingo Little.  Travis Resor, an
excellent singer and actor, was perfect as the rich dumb blustery
American Cyrus Judge, Jr., III, trying to win the hand of “that
purtty lil’ English lady.”

And the ladies of the show were veddy veddy British in their
characters, all done with stiff upper lips or shocked horsey
neigh-like surprised reactions as expected of their class, or sly
attempts at being demure.  There was much good choreography by
the ever ready and talented Fannie Rosenberg and one particular
dance routine remains vivid in my memory.  There was a ballet
with tutus and tights which the women performed and Leslie
Lemberg, playing Honoria Glossop, just stole the spotlight from
the others.  This actress was so funny in tutu and tights, her
physical presence being that of a classic “full blown rose” as
Tennessee Williams once wrote.  She has the full frontal figure
of a Reubenesque and the rear figure of a Botero painting, both
of which physical characteristics can be used for many a great
moment of laughter and humor on the boards.  She also has a
lovely singing voice and sang the only memorable song in the
show, That Was Nearly Us.   She has a clear well centered voice
that, as a Big Band singer or Canary (think Mildred Bailey) as
they were called, would have broken the hearts of any man
fighting WWII.  She has a big stage presence which I expect to
burst out on the stage in some large leading role any time soon. 
Playing the role of Stephanie “Stiffy” Bang, Karen Ann Cox was
the picture of the British lady with a sly matrimonial agenda of
her own and Carrie Black was ideal as Madeline Basest.

The music by Sir Andrew Lloyd Weber was clever and had a certain
amount of bounce and flounce but none of it was anything to
remember, except the one song so beautifully sung by Leslie
Lemberg as Honoria Glossop.  All the dance numbers were in sync
and the gorgeous costumes of Linda Fried were absolutely high
class chic.  Karl Harrod did a fine job as Musical Director and
Scratch Buckley lit up the stage with a sensitive concept of
theatrical lighting.