2nd Annual Festival of Comedy UpStage Theatre's 2nd Annual Festival of Comedy allows local playwrights to strut their stuff in one-act plays that are comic yet stay safely within the boundaries of "family-oriented" appeal. The writing shows imagination and comedic verve, suggesting good things to come from these four talented playwrights. The acting that brings these plays to life ranges from sophisticated, nuanced and thoroughly professional, to amateurish and embarrassingly inept. The good news is that much of the writing is so very good that it survives even this handicap. The Parking Lot by Alan Johnson is well-directed by Ann Richie, and it wittily and subtly reimagines some fairy tales, one in particular, in a good cop/bad cop vernacular. An excellent cast does it justice. The Bright Side of Being Blue by Carl Williams poses the dilemma a manager faces when his once-hot country-and-western singer is too happy to sing the blues — the concept is amusing enough for Williams to develop this into a full-length play. Sean K. Thompson both directed and played the manager — his acting is inventive and skilled, but as a director he failed to solve a casting problem; he should have gotten better performances out of some of the cast. The Idiot's Guide to Dummies by George Rapier presents a daughter and her date coping with her amusingly offbeat and highly dysfunctional parents. The writing is fresh and comically insightful, and it is well-directed by Jennifer Wood. Family Matters by Jeffrey Strausser is a bit of a muddle, as four adult daughters arrive to take their parents out to dinner. They are a bit apprehensive, as Mother is determined to start traveling the world and Father is determined to reinvent Jackie Gleason and become a stand-up comic. His jokes are as corny as a corn-dog, and I loved all of them. The parents are wonderful characters, and I want to meet them again, but the play might do with fewer daughters, and its "message" might be delivered with subtlety instead of a sledgehammer. It's well-directed by Arnold Richie, artistic director of UpStage Theatre. Chief among the more inspired and highly talented actors were Norris Thompson, Joseph Moore, 14-year-old Xavier Lehew, Sonia Kronberg, Cristina Gibson, Arnold Richie and Anne Richie, who is artistic director of UpStage's Children's Theatre. Despite some flawed performances, the four plays provide an evening of irreverent humor, inventive ideas, psychological insights and generational conflicts. They are a most welcome escape from the summer heat – and the air-conditioning works beautifully. Through August 27. UpStage Theatre at Lambert Hall, 1703 Heights Blvd., 713-838-7191. — JJT
American Buffalo American Buffalo is an early David Mamet play, so you know that it's going to feature tough talk from unsavory, pathetic people. Men, to be precise. This 1976 play is set in a basement junk shop in an unspecified city. Don (Steve Irish), the proprietor, is a low-key, shadowy hustler with an outsized sense of dignity. After a wealthy customer buys a rare, American Buffalo nickel from him, Don doesn't celebrate the nice markup he got on the coin. Instead, he's offended by the customer's lordliness, and intends to break into said customer's house to burgle what Don assumes is a pricey rare-coin collection. He seems to think he has as much right to the coins as the unnamed customer does. From his basement shop, Don puts together a small team for the heist. Young Bobby (Matt Hune) is supposed to be casing the customer's house and helping with the break-in. Teach (Drake Simpson) is a more experienced criminal who thinks he should replace the green, and — as he sees it — unreliable Bobby on the job. Much of the first-act talk revolves around Teach trying to persuade the fatherly but slightly slow Don to let him, Teach, do the job. The talk in the second half revolves around an unseen member of the team, Fletcher, who keeps Don and Teach waiting long after the job is supposed to have begun. Where is Fletcher? Has he betrayed them? Has baby-faced Bobby betrayed them, for that matter, out of revenge because they cut him out of the action? Mamet shows his chops here; tension mounts as nothing happens. And he's got a very strong cast here to make that tension mount. Irish doesn't make a strong impression at first, but that's because his Don is something of a slowly awakening bear. As Teach, Simpson enters with a burst of energy and believability. And you just know that Hune, as sweet young Bobby, is simply going to break your heart. The frustrations hard-wired into these small-time losers' lives mount until they explode. And the explosion, with Don and Teach going at each other, is convincing and scary. That goes for this entire production by the Landing Theater Company, subtly but powerfully staged by director Kevin Holden, and convincingly designed by Frank Vela. Through August 28. O'Kane Theater, University of Houston-Downtown, 1 Main, 713-487-5634. — DT
Who Was That Masked Man? The term "meller-drammer" says it all — outlandish acting, deliberately exaggerated actions, simple plots, a mustachioed villain and a damsel in distress. Hisses at the villain were encouraged, as were cheers for the hero, and Theatre Suburbia capped it all by providing popcorn to throw at the cast, who sometimes threw it back. An uncomplicated set permitted something like a theater-in-the-round arrangement, and a bar in Slick Willy's Saloon doubled as a teller's cage for the local bank. The widow (tearfully well-played in the expected histrionic mode by Susan O'Connor) was slated to lose her home to the evil bank president whose mustache and black cape are certain emblems of villainy. Glenn Dodson played the morally challenged villain with confidence, but I did miss some of the lip-smacking relish and the savoring of pure evil that's the traditional hallmark of roles such as these. I especially liked Donna Dixon, who played the barmaid in an attractive red gown with eye shadow to match, and who dominated the stage with her powerful self-assurance. Daniel Corrigan was great as the dim-witted, bungling sheriff, and he managed to add nuance — believe it or not — to his role. Amesti Reioux played the widow's daughter — she can flutter a mean eyelid, nailed the ingenue smile and made us want to protect her virtue from the inevitable assault. The young Andrew Miles was effective as the Magnolia Kid, a gunslinger dressed in black but with so much cherry-red jacket fringe that I feared it might slow down his quick draw. The hero was the Masked Man, played by James Plake, and, while I found him unconvincing as the hero, he came to life in a dance routine in a dress — no, not cross-dressing, just a disguise. There was more dancing in the play, including an energetic, engaging can-can by a woman well past the first blush of youth. And there was singing as well, by the cast and the audience — a song-sheet was provided with the program, though the songs are familiar classics. The entire cast worked well together under the able direction of Doris Merten, creating a world of high jinks and low humor that, much to my surprise, I came to believe in. The events were enhanced by Alice Smith's appropriate piano accompaniment. Nineteenth-century histrionics were displayed shamelessly onstage in a fun-filled performance, and unless you're a curmudgeon by nature, you'll enjoy it. See it — you may exit with popcorn in your hair, but there will be a smile on your lips. Through August 27. Theatre Suburbia, 4106 Way Out West Dr., 713-682-3525. — JJT
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Sylvia A.R. Gurney's much-loved comedy Sylvia, about a man in mid-life crisis falling in love with a stray dog played by an attractive adult woman, is reborn again at Texas Repertory Theatre, along with all the marital problems that the new relationship engenders. The playwright provides a strong comedic script that tells an amusing story with ample narrative, interesting situations and considerable charm as we see young love — or at least middle-aged puppy love — evolve. Director Steven Fenley has chosen to have Sylvia, the stray, played by the voluptuous and talented Jen Lucy, who provides some witty canine mannerisms — I especially liked scratching at the door when she wants to go out. Lucy plays Sylvia with style and verve as a brash, affectionate siren — no wonder the wife Kate (Karen Schlag) sees her as a threat. Schlag captures the light touch of a wife dealing with a husband who seems to be regressing and adds credence to the early scenes as the domestic crisis grows, but she's less effective as the seams of the marriage dissolve. Alan Hall is wonderful in playing three important roles: a dog-owning Yankee fan, a society matron and an androgynous therapist whose sex cannot be readily determined. The playwright suggests one actor play all parts, and Hall pulls it off with brio - his characterizations contribute strongly to the production's success. The weak link is Bradley Winkler, who portrays the new dog-owner Greg, but seems to be vaguely unhappy, if not downright miserable, through the events. He finds the words, but none of the emotions, none of the enthusiastic joy of a new affair, and none of the welcome relief that his mid-life angst has been solved by adopting Sylvia. And we never see his love for Kate; if this is not a happy, loving marriage, why not just take the dog and go? The set is quite handsome as well as functional, and incorporating the attractive abstract New York skyline that serves as backdrop into the front door is witty. The costumes work well, except that restraint seems to have been jettisoned for Sylvia's pink outfit. Some of the stage business — Sylvia running between legs — is inventive and spirited, but the poignant epilogue is marred by incorporating a simultaneous scene change. This captivating drama of mid-life crisis can withstand imperfection, and the luminous insights and comedic gifts of the playwright shine through to provide enjoyable and amusing entertainment. Through September 11. Texas Repertory Theatre, 14243 Stuebner Airline Rd., 281-583-7573. – JJT