Open House: City Lights Theatre

Some things simply get better with age. Wine, houses, and, rarely but occasionally, plays.

This would appear to be the case with Open House, City Lights Theatre's reopening foray onto the boards. First staged some years ago at the Lucas, Savannah Morning News critic Will Dean noted the script to be masterfully constructed yet let down by shoddy acting. A bit of time and a bit of care has seen to that, at the very least.

The sprawling comedy, written by City Lights' Artistic Director Jim Holt, details the process of trying to sell the most ideal house ever imaginable. With a cast of 21, one can easily lose track of plotlines and stories. Also, with the wide array of concerns, pratfalls, schticks, and conflicts, none seems to come strongly enough to the for to vie for the title of theme. However, though it might creak in places, the script is a fundamentally sound comedy that manages to drag the community to the forefront. With thinly veiled references to Savannah neighborhoods, and completely unveil jabs at certain local figures, it has a style and feel that is uniquely "Savannah."

The characters are, by and large, broadly (and kindly) painted by Holt and generally well served by their actors. Grace Diaz Tootle, reprising her turn as Karen, a rocket-fueled steamroller of a real-estate agent, demonstrates once again her strength and vindicates her nod in the Connect: Savannah's "Best of" awards in acting. Bailey Davidson, as fornicating college professor turned junior realtor Mark, strikes a bewildered but capable everyman while Johnny Walgate takes the concept of camp to heights even Sir Elton John never considered possible as Robbie. Les Taylor (Bill), and Terri Palanca (Martha) are a joy to watch, with Ms. Palanca reminding one of a slightly less insane, though no less homicidal in the long run, Kathy Bates from Misery. The ensemble works well together, for the most part, at creating a unified illusion, which, considering the sheer number of people, is an accomplishment in and of itself. If Suzanne K. Milton is tuned to the key of F sharp as the depressed and suicidal Kelly while the rest are in G major, it is a relatively minor fault.

To echo Will Dean, the production is akin to touring a massive new home, but this is certainly a mixed bag. When finding a walk-in closet one forgot was in the Master Bedroom, one is pleasantly surprised. Forgetting that one of the toilets runs, as there are so many to keep track of, is far less pleasant when the water bill arrives. Though certain moments may seem incomprehensible, a Dancer (ably performed by Jody Chapin) only visible to certain people, and joggers (Renee DeRossett and Kim Trammell) prancing through with dog poop like something out of Desire Caught by the Tail, and certain characters get lost in the shuffle, forcing resolution to their storyline to feel somewhat capped on, there are far more closets than toilets on offer here.

Plus, one of Savannah's most celebrated companies has returned to the boards, and that's worth having to jiggle the handle on occasion.

By Jim Holt; directed by Jim Holt; A City Lights Theatre Production. At the S.P.A.C.E., 9 West Henry Street, Savannah; (912) 507-4112. September 10,11,17,18.

WITH: Bailey Davidson (Mark), Renee DeRossett (Jogger #1), Kim Trammell (Jogger #2), Les Taylor (Bill), Terri Palanca (Martha), Bradley Mullins (Thug), Cassidy Jane Tootle (Thugette), Suzanne K. Milton (Kelly), Corbett Coleman (Tom), Bonnie Rae Terrell (Gwen), Donald Jarvis (Glen), Alison Greer-Chodkiewicz (Jean), Lavon Youins (Chrome), Kareem McMichael (Alexander), Grace Diaz Tootle (Karen), Dia Frazer (Alicia), John Meyer (Charles) Johnny Walgate (Robbie), Louis Clausi (Arnie), Jim Holt (Doug), Jody Chapin (Dancer).