By Elaine Liner
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
Dallas theatergoers can be aggressively vocal with their opinions. Some audience members open their gobs and offer audible reviews of a show while a performance is in progress. This sort of behavior may be appropriate at a gladiator ring or topless revue, but it is generally frowned upon at an evening of Shaw or Ibsen. Despite polite warnings from house managers during those awful pre-show curtain speeches, chatterers don't even restrict their conversations to only those actually in the room. During a recent matinee at a small Dallas theater, the beepity-boop of a cell phone went off during the first act. Its owner dug into his jacket pocket, snapped open the phone and said, loudly enough for half the house to hear, "Hello...at a play...no, not really..." Everybody's a critic.
It's one thing to put up with people bleating at the screen during a movie. It's quite another when live actors can hear rude interruptions erupting from the peanut gallery. One of the sweetest gotcha moments of the theater season thus far occurred during Kitchen Dog's production of Hedwig and the Angry Inch. When a cell phone went off one night during one of Hedwig's more emotional monologues, actor Joey Steakley stopped the show, bounded into the audience, found the offending party, grabbed her still ringing phone, answered it in character as Hedwig and berated the caller for effing up the act. The audience roared its approval.
For theater lovers who simply can't keep their lips from flapping when the house lights go down, there are a few places where it's perfectly OK to yak away during the show. At the melodramas staged at the Pocket Sandwich Theatre the audience is encouraged to boo and hiss the onstage villains and to throw popcorn at the actors. And at children's theater productions, characters often speak directly to the folks in the crowd and include them in back-and-forth conversations throughout the play.
One of the best examples of how to involve a restless audience in the action is Theatre Britain's delightful and imaginative production of The Frog Prince, running for a few more performances at Trinity River Arts Center. In this one everyone gets a chance to be heard. Done as a traditional British "panto," a broad style of children's comedy performed at holiday time, the show opens with a narrator named Kermit (James Hoult) welcoming all the "ladles and gentlespoons" and giving everyone permission to speak up and sing out as the play unfolds.
Jacque Mellor's script is based on the old fairy tale about the handsome prince (Jerrika D. Hinton) cursed to live as a frog until a pretty princess (Shellie Lynch) agrees to let him eat from her plate, drink from her cup and sleep on her pillow. In an enchanted wood haunted by a ghost (F. Scott Scripps), the princess meets the frog, who sings songs backed up by a doo-wop chorus (Hoult, Scripps, Billie Bryant, Clayton Farris). She also encounters an elf named Elfvis (Farris), who prances about with pointy ears, pointy shoes and a cape. "Are you a fairy?" the princess asks the elf. "Don't get personal," he snaps.
With enough mildly ribald jokes to keep parents amused, The Frog Prince is a sprightly combination of children's theater and English music-hall silliness. Halfway through the show, just about the time the kiddies get squirmy, the audience is goosed to its feet to compete in a sing-along of "Pack up your troubles in your old kit bag." Kids are invited onstage to direct the music. Long about the 10th time around, everyone really does smile, smile, smile at the goofiness of it all. After the 90-minute show, the characters stay in costume to greet everyone in the lobby for photos and autographs. It's good interactive theater and a ribbeting experience all around.
With its references to "Mr. Hitler," Teddy Roosevelt and Judith Anderson, Arsenic and Old Lace creaks with age. When it opened on Broadway in 1941 (heavily rewritten by its producers, Life With Fatherplaywrights Howard Lindsay and Russel Crouse), the term "serial killers" hadn't been invented yet. The idea of elderly sisters spiking their lonely gentlemen boarders' elderberry wine with strychnine, arsenic and cyanide to put them out of their misery was considered whimsical and eccentric. The best gimmick of that first Broadway production revolved around the mobster nephew, Jonathon, who acts insulted every time anyone says he resembles movie monster actor Boris Karloff. On Broadway, Jonathon was played by Boris Karloff, who, oddly enough, wasn't cast in Frank Capra's 1944 film version starring Cary Grant and Josephine Hull. In that one, Boris Karloff was played by Raymond Massey.