Review: The Man Who Came to Dinner at The Arts Theatre

There’s something wonderfully comforting about a classic comedy when it’s in the hands of a company who clearly relish the opportunity to bring it to life. Adelaide Repertory Theatre’s production of The Man Who Came to Dinner proves exactly that, delivering an evening filled with sharp wit, larger-than-life characters and plenty of laughter.

Written by the legendary Broadway partnership of George S. Kaufman and Moss Hart, The Man Who Came to Dinner premiered in 1939 and remains one of the great American drawing-room comedies. Inspired by the famously acerbic critic Alexander Woollcott, the play follows the tyrannical Sheridan Whiteside, a celebrated radio personality who slips on an icy doorstep while visiting the affluent Stanley family in Ohio. Confined to their home while he recuperates, Whiteside swiftly takes over the household, manipulates everyone around him and creates complete chaos as an eccentric parade of celebrities, hangers-on and unexpected visitors come and go.

Director Sue Whylie understands the rhythm of this classic beautifully, allowing the comedy to build naturally while giving each of the colourful characters their own moment to shine. It’s a production that embraces the period style without feeling overly formal, and the audience responded enthusiastically to the rapid-fire dialogue and theatrical antics.

One of the production’s greatest strengths is Gary Anderson’s beautifully realised set. The elegant Stanley living room captures the sophistication and wealth of the family while providing the perfect playground for the constant stream of entrances, exits and comic business. Complementing the design perfectly is Ian Barge’s lighting, which subtly supports both the warmth of the home and the heightened theatricality of the unfolding mayhem.

The ensemble works cohesively throughout, successfully creating the bustling world that surrounds Whiteside. While some of the American accents occasionally drifted, it never significantly detracted from the enjoyment of the production, thanks to the cast’s obvious commitment to character and storytelling.

Brenton Whittle brings warmth and quiet exasperation to Mr Ernest Stanley, the long-suffering homeowner whose attempts to reclaim his house become increasingly futile. Opposite him, Rebecca Kemp is delightful as Mrs Ernest Stanley, balancing gracious hospitality with mounting desperation as her home slips further out of her control.

A standout in multiple roles is Robert Cusenza, who demonstrates excellent versatility, particularly as the delightfully eccentric Professor Metz and the flamboyant Banjo, creating two entirely distinct comic personalities.

Penni Hamilton-Smith is wonderfully entertaining as the hilariously earnest and socially awkward Miss Preen. Her impeccable comic timing and complete commitment to the character make every appearance a joy, earning some of the evening’s biggest laughs.

Among the younger characters, Jess Corrie is simply charming as Maggie Cutler, Whiteside’s loyal secretary. Maggie is the emotional heart of the play, a capable, intelligent young woman whose growing desire to step out from under Whiteside’s control provides the story with genuine warmth. Corrie captures both Maggie’s strength and vulnerability beautifully, giving the audience someone to truly invest in.

As the glamorous and manipulative actress Lorraine Sheldon, Helen Geoffreys is deliciously wicked. Sophisticated, calculating and utterly self-serving, Lorraine arrives like a whirlwind, threatening Maggie’s happiness with effortless charm. Geoffreys clearly relishes every deliciously dramatic moment.

A particular highlight is Michael Griffiths, whose memorable cameo as the flamboyant Beverly Carlton is nothing short of scene-stealing. With impeccable comic flair, effortless charisma and a marvel on the piano, he makes every second on stage count, leaving the audience wanting even more.

Then there’s Peter Goers as Sheridan Whiteside. It’s difficult to imagine a performer better suited to this towering role. Whiteside dominates every room he enters, brilliant, egotistical, razor-sharp and gloriously impossible, and Goers inhabits him with enormous presence. His delivery sparkles with wit, his timing is impeccable and he expertly balances Whiteside’s outrageous arrogance with enough charm to keep the audience firmly on his side. It is a commanding performance that anchors the entire production.

Classic comedies rely on precision, pace and an ensemble willing to fully embrace the heightened world they inhabit. Adelaide Repertory Theatre succeeds on all three fronts, delivering an entertaining production that honours Kaufman and Hart’s timeless script while giving today’s audiences plenty to laugh about.

If you’re looking for an evening of old-fashioned theatrical fun, sparkling dialogue and memorable performances, The Man Who Came to Dinner is well worth accepting the invitation.

4 stars

Lia Loves.