ICING ON THE CAKE
Quite the parade from LA JOLLA PLAYHOUSE lately to the Great White Way in Manhattan, New York City (NYC).Let’s see… fairly recently there were LATIN HISTORY FOR MORONS, SIDE SHOW, HANDS ON A HARDBODY, PETER AND THE STARCATCHERS, JUNK, INDECENT and COME FROM AWAY to name a few. Soon to open are ESCAPE FROM MARGARITAVILLE and SUMMER (a total of 32 from the Playhouse overall). Let’s not forget the new production of JERSEY BOYS which recently opened just off Broadway in a smaller theatre after its 11 year run at the AUGUST WILSON THEATRE. Oh, and FREAKY FRIDAY will be released in movie form soon. Whew!
Therefore, it would surprise me if the LJP production of THE CAKE fails to make the transfer soon as well. Attractive to producers, no doubt, are the following: Bekah Brunstetter (the playwright) writes and produces for NBC’s mammoth hit “THIS IS US”; the critic reviews have been positive; the issue of gay rights vs religious liberty remains forefront in the news; the 4 person cast is financially attractive to investors; it features a Broadway leading lady in Faith Prince; and, of course, the reputation of LA JOLLA PLAYHOUSE undoubtedly would play into the decision as well. I say let’s get this show on the road to NYC!
First and foremost, a writer’s dream comes to fruition with the casting for the show. It’s a coup that this star signed on for the gig; my familiarity with her dates back to her indelible performances in GUYS AND DOLLS, BELLS ARE RINGING and LITTLE ME among the seven shows in my Faith Prince memory book. Truly a lady who commands the stage. In this production she grandstands (in a good way) as “Della”, the proprietor of Della’s Sweet Shop in a small town in North Carolina. She reconnects with her cherished best friend’s twentysomething daughter, “Jen” (Aubrey Dollar), who previously had moved to NYC for a different perspective on life when her mother passed away. Della lives and breathes cakes (especially pink lemonade flavor), yearns to be a contestant on a TV bake-off show and prides herself on her gregarious nature in the community.
The playwright introduces us to this homemaking queen at the same time a visiting African-American, young lady, “Marcy” (Miriam A. Hyman), from New York City (NYC) seems to be interviewing her. Later developments reveal that Marcy, who happens to be a vegan (she spurns the thought of cake) is visiting North Carolina at the behest of her lesbian partner, to support her as she plans their hometown wedding. When Jen encounters roadblocks, Marcy attempts to dissuade her from pursuing the Southern wedding plan, relying on her own past history dealing with prejudice. This event, though, specifically connects with her deceased mother’s wishes and the legacy Jen received for that purpose, so she remains persistent.
The fourth member of the cast, “Tim” (Wayne Duvall), gives us an intimate view of Della’s home life, and a hint that there is trouble in paradise. Hilarity occasionally rules with Tim and – I have to say – he possesses the best “s…t – eating grin” in the universe.
Of course, the crux of the play involves the question of whether or not Della will bake THE wedding cake. Delineating the play’s layers of meaning includes several relevant questions besides the obvious one. For example, what challenges occur behind the scenes involving Jen and Marcy’s relationship? Similarly, how does the torturous decision affect the relationship of Della and Tim? Also, and perhaps most importantly, what implications for society do the issues related to change impact all of us?
The playwright uses her own childhood experiences lovingly as she digs into the truths of this charming artisan’s dilemma. Ms. Bronstetter develops the dramatic scenario sensitively, painting a picture of a friend in turmoil over honestly held views entrenched for a lifetime.
Intruding on the action periodically booms the voice of her favorite TV host from the bake-off show (Jeffrey Howard Ingman) with commentary on Della’s challenges.
David F. Weiner‘s setting deserves a blue ribbon. Other technical contributions by Denitsa Bliznakova and Elizabeth Harper deserve accolades as well.
Ultimately, the play’s value lies in the journey of these disparate characters tousling with their own value systems. Questioning. Accommodating. Rejecting. Moving on. All of the other joys of this production are just icing on THE CAKE.
Theatre Curtain Calling… Reviewing the Situation
