Charles has a problem. He’s bad in bed. Really bad. Supernaturally bad. He’s already had two divorces, and his most recent is pending. As the play opens his ex-to-be, Annie Jo (played by Maya Weatherall), can’t get him out of the house fast enough. It’s over! To make things even more untenable, Charles (played by Sam Weeks) appears to be a classic narcist. Too much “me, me, me!” That and the bad sex has slammed shut the “window of reconciliation” between them.
Charles takes refuge at his old buddy, Jack’s (played by Nick Kaprelian), bachelor pad. Jack, also a recent divorcee, was one of Charles’ college buddies back in their Northern Michigan University days. As fate would have it, another other their old gang, Betsy (played by Sarah Edlund), is in town on a book reading tour of her recent best seller, Bad in Bed (A Fairy Tale). Dramatic irony? Dark coincidence? Unfortunately for Charles, not really.
Betsy’s book has a very autobiographical through line. It appears back in their college days; Betsy had a significant crush on Charles – perhaps obsession would be more apt. When Charles fell for his future ex-wife, Martha, Betsy was devastated. She fled Charles entourage to find succor in arms of a coven of Finnish-style witches, led her friend by Deb (played by Stacey Garbarski). Whether to exact revenge on him, or exorcise Charles from her heart, the book outlines how Deb helped Betsy place a spell on Charles cursing him to be eternally, of course, bad in bed.
While Betsy’s in town, the three old friends reunite. Charles peruses Jack’s copy and sees the ruin of his live in the pages of Betsy’s “adult fairy tale.” He begs her, rather pathetically, to remove the curse. The possibly still enamored Betsy calls on the help of her friend Deb to hold the ceremony to break the curse. After the rite is performed, to ensure its completion, Deb’s instructs Charles to say three words to his loved one when next they meet… “How are you?”
The play sets up as a wacky, quirky, romantic comedy, with a broad splash of the metaphysical. Don’t say Wiccan! It’s Taika (TIE-kuh)! And why does Jack have a dozen half-empty, open boxes of Cheerios in his cupboard? From lights up, Karen Saari’s engaging script, developed with help of the Acadiana Repertory Theatre of Lafayette, LA, puts a smile on your face which never fades.
Allen Ebert’s adept directing keeps the pace tight and the action moving forward. He helps the audience engaged and focused on the action, while offering a banquet of well-timed, almost over the top schtick and bits.
The performances by the well-balanced ensemble were uniformly excellent. Kaprelian as Jack was delightful. Kaprelian has become a master of silliness. Jack’s explanation and demonstration of his exercise regime called “flogging” – a combination of jogging and the flaying about of one’s arms – is a near showstopper.
Garbarski, as Deb, who now leads the Finnish coven under the title of Cardinal Goddess of the Order of the Orbits of Pegasus, is almost otherworldly. Her magical contortions, thick Yooper accent, and highly cartoonish expressions are riveting. It hard to stop watching what she may do next.
Besides being a fun and engaging night at the theater, numerous aspects of the project mark it as an extraordinary production. First, it’s an original play written by a Madison-based playwright. That is an amazing thing, but my opinion may be a bit subjective.
Second, it’s a part the extraordinary World Premier Wisconsin (WPW) project. WPW is a state-wide initiative encouraging and supporting Wisconsin theaters – professional, academic and community – to produce original scripts during their spring theater season. For more information see https://worldpremierewisconsin.com/. Sign up for their online passport to get additional information and benefits for seeing WPW plays.
It also marks a remarkable collaboration between Madison oldest community theater. MTG, and the theater program at Madison College. Every aspect of this scenario is win-win and must be duplicated more in the future. Continued and increased collaboration between local academic theater programs and local performing arts companies makes everyone involved stronger and more viable.
The last, and perhaps most important, the Friday, March 3 opening night was sold out! They had to add chairs. I attended several other shows in the city last weekend. And all were sold out or near capacity. Performing arts organizations were hit especially hard by COVID. As groups have been fighting for survival, struggling to gain lost ground, audiences have been a bit slow to reengage in their pre-pandemic attendance levels. Hopefully, Dionysus willing, this is a good sign. A badly needed sign! A WONDERFUL sign!
