Neil Simon’s much-loved comedy Plaza Suite is the latest production from Swansea Little Theatre at the Dylan Thomas Theatre — and reviewer Jonathan Marshall finds an exceptional ensemble mining the material for all it’s worth.
After becoming Victorian London for their recent production of Holmes and the Ripper, the Dylan Thomas Theatre now transforms into New York’s Plaza Hotel. It is the setting of Neil Simon’s much-loved comedy Plaza Suite, which is the third play of the year to receive the Swansea Little Theatre treatment. It is overseen by Rob Phillips who makes an impactful directorial debut at the venue.
Plaza Suite consists of three acts, in which three different scenarios involving different characters play out, all in the same hotel room of the landmark hotel. First up are Karen and Sam. She has booked a suite to reignite romance on their wedding anniversary, but he is more committed to his career.
Clare Boland, who last trod these boards back in the 1990s with West Glamorgan Youth Theatre, is simply phenomenal as the desperate housewife. Fully embodying Karen’s quirks and displaying stellar comedic timing, Boland is a natural on stage and summons a great deal of laughter from the enthused audience.
Peter Hawkshaw provides a nice contrast as Sam, again drawing out as much comedy as possible and enjoying convincing chemistry with Boland. We fully believe in their marriage and its plights and despite the permeating tension between them, we enjoy their company for the duration of the first act.
After a brief interval we are back in Suite 719 but this time with Hollywood Producer Jesse and his high-school sweetheart Muriel. The two have reunited after years apart with both having ventured into very different lives. He rubs shoulders with the likes of Frank Sinatra while she is a through-the-motions cookie-cutter suburban housewife. Jesse still lusts for her while Muriel endeavours to play it cool but her keen interest in celebrity culture can’t be contained and both sexual tension and character-driven comedy ensue.
It is nice to see Max Harlow take a prominent position in the cast after recent supporting roles and the actor is a delight to watch, utilising his facial expressions and body language to great effect. Molly Clery is comedy gold as Muriel, garnering many laughs with her memorable portrayal and the two effortlessly bounce off one another.
An array of tastes in comedy is catered for here with the final act providing us with a generous helping of silliness and slapstick. It is Mimsey’s wedding day, but she has locked herself in the bathroom of her hotel suite, leaving her increasingly irate and despairing parents hilariously attempting to coax her out.
Francesco De Muro as a father on the edge (quite literally at one point) has us guffawing from the off. Executing excellent physical comedy, the actor delights with an assured, beautifully detailed performance, fully embracing the heightened humour his character and the situation generate.
Avalon Kerr makes a stirring Swansea Little Theatre debut as Mimsey’s mother — a neurotic New Yorker whose big moment as mother of the bride is in jeopardy. Kerr commands the stage, countering De Muro to brilliant effect and perfectly embodying both nerves and frustration at the predicament she finds herself in. Another fantastic performance. There is sturdy support in the form of Richard Fowler, Sean Jenkins and Cate Harvey and the cast should be commended for their New York accents.
The theatre’s production values are always pleasingly high, and we are once again greeted with an impressive, expansive set. Phillips is also responsible for the set design with the aid of Simon Morgan, Daniella Heighton, Daniel Walton and Jaiden Burns along with scenic artist Vernon Hodson. The result is a detailed yet functional hotel suite in keeping with the 1960s period.
Rather than modernising the script, Phillips leans into its period setting. While the play’s depiction of gender roles might seem somewhat stale, it is the women who are very much in control here and the flaws of the male characters that are placed under the microscope.
That said, it isn’t all that deep. Comedy is the order of the day and Phillips and his exceptional ensemble mine the material for all it’s worth. There is a nice fluidity to the show, with the pace moving at a healthy tempo. The efforts of the cast and creatives are deservedly rewarded with a rapturous applause at the curtain call, and we depart feeling both energised and entertained.
For those in search of some easy escapism and a good laugh, secure your reservations at the Dylan Thomas Theatre now before the run concludes on Saturday.
Plaza Suite is at the Dylan Thomas Theatre from Wednesday 17 to Saturday 20 June at 7.30pm. Tickets can be purchased on the theatre’s website or by calling the box office on 01792 473238.
