Displaying items by tag: Unnecessary Farce
Chaos Checked In: Unnecessary Farce Brings Down the House at The MAC
Paul Slade Smith’s Unnecessary Farce - a 2006 comic whirlwind that is fast becoming a modern staple of the genre - lands with full force in Buffalo Theatre Ensemble’s lively production at The McAninch Arts Center in Glen Ellyn. The show is a reminder of how exhilarating a well‑constructed farce can be when every door slam, double‑take, and spiraling misunderstanding is executed with precision.
The setup couldn’t be more straightforward: two green cops stake out a bargain‑basement motel, poised to catch a small‑town mayor admitting to embezzlement. The camera is trained on the adjoining room, the accountant is prepped to draw out the confession, and everything should go smoothly. Naturally, it doesn’t. What follows is an avalanche of mistaken identities, disappearing clothing, and panicked improvisation as characters burst through the wrong doors at precisely the wrong time.
Smith’s script operates like a beautifully rigged Rube Goldberg machine of mayhem, each beat triggering the next with wicked precision. The comedy lands not because anyone is a cartoon, but because these poor, well‑meaning souls are desperately – hilariously - outmatched by the situation. And just when the chaos feels like it can’t possibly escalate further, in stomps a thick‑accented Scottish hitman, sending the whole affair hurtling into a delirious, side‑splitting crescendo that has the audience laughing at both the gags and the sheer engineering genius behind them.
The production thrives on the strength of a sharply attuned ensemble, each performer bringing a distinct spark that fuels the play’s escalating hilarity. Lisa Dawn, as the ever‑frazzled accountant Karen Brown, and Brad Lawrence, playing the straight‑laced Officer Eric Sheridan, ignite the evening with a rhythm that blends sharp comedic timing and buoyant physicality. Their energy sets the tone long before Frank Nall ambles in as Mayor Meekly, whose beautifully understated, steady presence becomes even funnier as he’s swept - again and again - into one absurd predicament after another.
Laura Leonardo Ownby, as the ever‑eager Billie Dwyer, injects the show with a burst of quick‑witted, slightly off‑kilter energy that’s instantly endearing. There’s a touch of Julie Hagerty in her wide‑eyed charm—funny, irresistible, and just unpredictable enough to keep the audience leaning in. When she hits her big moment, she lands it so cleanly and with such delightful abandon that the crowd breaks into spontaneous applause. Stepping in for Robert Koon for this performance, David Scott Crawford takes on the role of Todd with an easy confidence and a nimble, quick‑thinking presence. He slips into the ensemble’s rhythm without a hitch, matching their pace and tone so naturally that the substitution feels entirely organic.
Doreen Dawson, as Mary Meekly, offers a warm, steady presence that subtly elevates the entire ensemble, giving every twist, turn, and impeccably timed door‑slam an extra spark of comedic payoff. And closing out the company, Bryan Burke storms in as Agent Frank - uproariously funny and armed with expertly dialed‑in bluster that sends the chaos over the top in the best possible way. He leans into the character’s bluster and bravado with such sharp comic instinct that every entrance, line, and reaction becomes its own little punchline. Burke’s presence adds a final, satisfying jolt of absurdity to the ensemble’s chaos. I remember really enjoying his performance in Buffalo Theatre Ensemble’s Native Gardens. That same sharp instinct for timing and that wonderfully unforced comedic presence show up again here.
Together, this ensemble operates like a finely tuned comic engine - fully committed, perfectly synchronized, and clearly delighted by the demands of farce. Their collective precision makes the escalating madness feel effortless, transforming the production into something that doesn’t just execute farce, but celebrates it.
Superbly directed by Kurt Naebig, Buffalo Theatre Ensemble embraces the play’s breakneck rhythm and gleeful silliness, delivering a production that feels both tightly engineered and joyfully unhinged. It’s the kind of show that rewards timing, commitment, and a willingness to lean into the ridiculous - and this staging at The MAC does exactly that.
A crowd‑pleaser from start to finish, Unnecessary Farce proves once again that when farce is done right, it’s irresistible.
For tickets and/or more show information, visit https://atthemac.org/events/unnecessary-farce/.
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