One might say that a rollicking romantic comedy is just what we need at the moment, and “Barefoot in the Park,” playing through Sunday, April 27 at Celebration Arts, provides just that.
This cavorting play — the 10th-longest running non-musical in Broadway history — has been defying the odds since its 1963 Biltmore Theatre opening with American acting icons Robert Redford and Elizabeth Ashley.
This cavorting play — the 10th-longest running non-musical in Broadway history — has been defying the odds since its 1963 Biltmore Theatre opening with American acting icons Robert Redford and Elizabeth Ashley.
And while its original run spanned 1,530 performances to broad public appeal, the first production was lightly panned in a number of reviews. Variety whined that it had “a dime-a-dozen premise [and] virtually no plot,” and the Herald Tribune claimed it was “about nothing at all.”
In that regard, “Barefoot in the Park” is in good company. You might remember that the 1990s classic TV sitcom “Seinfeld” is commonly described in the same manner.
Indeed, one of the many charms in James Ellison III’s production of this classic romp is that the viewer feels as if they are a member in a live-studio audience (with Celebration Arts’s brand new cushioned seats adding an element of luxury to the dynamic). Instead of “Seinfeld,” however, think “The Fresh Prince of Bel Air” or “Martin.”
The actors are animated, the jokes land with vigor and peals of laughter carom throughout the room. On this night in particular, the company provides American Sign Language interpretation for deaf and hard-of-hearing neighbors — a service they will be offering for at least one evening of every production the rest of this season.
“Barefoot in the Park” is a classic newlywed storyline. Corie and Paul Bratter (Jasmine Washington and Donald “DJ” Lacy) are newlyweds who have just moved into their first New York City apartment together. As with many starter apartments for those of us just peeking out into the world, this place has some, shall we say, quirks.
A hole in the skylight. A leaky closet. No bathtub. Did I mention it’s on top of a five- (arguably six-) story walkup?
Corie, a free spirit with a positive outlook, looks at her new home through rose-tinted glasses. Paul, an uptight attorney just starting out, is not having a good time. Washington and Lacy delight with their chemistry and repartee, capturing one newlywed’s yin to the other’s yang with skill.
In that regard, “Barefoot in the Park” is in good company. You might remember that the 1990s classic TV sitcom “Seinfeld” is commonly described in the same manner.
Indeed, one of the many charms in James Ellison III’s production of this classic romp is that the viewer feels as if they are a member in a live-studio audience (with Celebration Arts’s brand new cushioned seats adding an element of luxury to the dynamic). Instead of “Seinfeld,” however, think “The Fresh Prince of Bel Air” or “Martin.”
The actors are animated, the jokes land with vigor and peals of laughter carom throughout the room. On this night in particular, the company provides American Sign Language interpretation for deaf and hard-of-hearing neighbors — a service they will be offering for at least one evening of every production the rest of this season.
“Barefoot in the Park” is a classic newlywed storyline. Corie and Paul Bratter (Jasmine Washington and Donald “DJ” Lacy) are newlyweds who have just moved into their first New York City apartment together. As with many starter apartments for those of us just peeking out into the world, this place has some, shall we say, quirks.
A hole in the skylight. A leaky closet. No bathtub. Did I mention it’s on top of a five- (arguably six-) story walkup?
Corie, a free spirit with a positive outlook, looks at her new home through rose-tinted glasses. Paul, an uptight attorney just starting out, is not having a good time. Washington and Lacy delight with their chemistry and repartee, capturing one newlywed’s yin to the other’s yang with skill.
More tension visits the Bratters when Corie’s mother (played by Darlene Tellis) comes to check on the lovebirds in their new nest. In short time, Corie is trying to see if sparks fly between her mom and Victor Velasco (Aaron Walker), the bohemian eastern European who sometimes needs to climb up to his attic-level apartment through the Bratters’ window.
We learn through a series of hilarious and often unfortunate events that Victor shares Corie’s free spirit, while Corie’s mother is sober-minded like the young Paul. Walker and Tellis play up this tension to excellent — sometimes slapstick — comedic effect.
This story spans four days, with a wild, alcohol-fueled February night’s trek from Midtown Manhattan to Staten Island (no thank you, says this former NYC resident) kicking off the plot’s major points of contention. Paul is exasperated with his carefree, wild wife. Corie wishes her husband would loosen up every now and again, perhaps take off his shoes and walk barefoot in the park. And what are we to make of Victor and Corie’s mom?
Not every production in a season needs to be a somber Pulitzer-winner. This play is just fun. The actors’ joy is palpable and contagious, the direction is on-point, and what a joy to sit in revelry with 100 of your neighbors in these brand new, comfortable theater seats? The applause (and the finger-fluttering ASL applause from the hard-of-hearing audience members) solidifies the feeling that we all just experienced something fun, together, before entering back to the harsh realities so many are facing today.
Do yourself a favor and go enjoy this play.
We learn through a series of hilarious and often unfortunate events that Victor shares Corie’s free spirit, while Corie’s mother is sober-minded like the young Paul. Walker and Tellis play up this tension to excellent — sometimes slapstick — comedic effect.
This story spans four days, with a wild, alcohol-fueled February night’s trek from Midtown Manhattan to Staten Island (no thank you, says this former NYC resident) kicking off the plot’s major points of contention. Paul is exasperated with his carefree, wild wife. Corie wishes her husband would loosen up every now and again, perhaps take off his shoes and walk barefoot in the park. And what are we to make of Victor and Corie’s mom?
Not every production in a season needs to be a somber Pulitzer-winner. This play is just fun. The actors’ joy is palpable and contagious, the direction is on-point, and what a joy to sit in revelry with 100 of your neighbors in these brand new, comfortable theater seats? The applause (and the finger-fluttering ASL applause from the hard-of-hearing audience members) solidifies the feeling that we all just experienced something fun, together, before entering back to the harsh realities so many are facing today.
Do yourself a favor and go enjoy this play.
This story is part of the Solving Sacramento journalism collaborative. This story was funded by the City of Sacramento’s Arts and Creative Economy Journalism Grant to Solving Sacramento. Following our journalism code of ethics, the city had no editorial influence over this story. Our partners include California Groundbreakers, Capital Public Radio, Outword, Russian America Media, Sacramento Business Journal, Sacramento News & Review, Sacramento Observer and Univision 19. Sign up for our “Sac Art Pulse” newsletter here.