Following an insane kind of logic, the author seems to improvise as he goes along; yet Loot winds up making weird sense at the end.
Most of the actors brought talent and energy to their roles, but the director sometimes failed to lead them rigorously.
The hero, Hal, would conceal the proceeds of a bank robbery in his mother's coffin. Although Seth Rosmarin, who played him, certainly can do flamenco superbly, his foppish characterization resembled a straight actor trying to play an outrageous queen: possibly a director's inappropriate and patched interpretation.
Hal's friend Dennis was played by Rajesh Bose, who lumbered through, saying lines so loud he became strident in the intimate space.
Peter Brydges played Hal's bewildered father (McLeavy) with a credible, though monochromatic performance that expended much energy and profited little.
Michelle Gigante's gutsy willingness to follow any direction in portraying the villainous Fay was remarkable. Unfortunately, she made truer eye contact with the audience than with her scene partners. She was like a bad accident that kept trying to happen: you couldn't take your eyes off her.
Things got really unbelievable when Daria Balling, the actress playing Hal's dead mother in her coffin (quite convincingly!) shifted to a second role (Meadows) by putting on a paper mustache and becoming a very thin and very female Keystone cop.
Only Barry Gilbert, playing Truscott, a sort of idiot-savant sleuth, fulfilled the author's logic. Wearing strange makeup, he was so good his character became the central figure.
The lighting was not credited, and didn't need to be. Twelve instruments turned on, off, or dimmed at intermission.
The costume details (Leila Mansury and Hannah Lentz did props and costumes) revealed some thoughtful care missing from other aspects of the production - although who would chose tuxedo pants to attend a funeral?
Only "Carpentry" was credited for the unit set (to Peter Brown, William Carl, and each of the male actors), probably for banging out plywood versions of two coffins and a wardrobe, which played importantly in the action and deserved a better paint job.
This company is trying to do admirable things in reviving important plays, and should be encouraged and financially supported.
But poverty is no excuse for tackiness. Thus, a dead mother's false teeth should not be chattering toys one finds in novelty shops. Handcuffs should work. And piercing fourth walls is serious business.
Comedy, especially farce, requires ruthless logic. Whenever artists work for love they need to exercise great imagination.
Next time, a little more of these, if you please.
Copyright 1999 Marshall Yaeger