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June 19, 2002
Section: CNY
Edition: Final
Page: 
Column: Joan Vadeboncoeur

Appleseed Productions' tradition of presenting a program of one-act plays is welcome. Few companies give exposure 
to what often are small gems. 

First up on its current triple bill is Terrence McNally's "Next," a satirical look at the callous aspect of service life and, 
overall, man's inhumanity to man. An efficient doctor (Peg Kortz) tangles with a hapless, 40-year-old man (William 
Edward White), subjecting him to the indignities of stripping for a physical, as well as treating him as a cipher. 

Under the expert guidance of director John Poorman, Kortz does her work precisely, which means permitting White to 
play off her brisk demeanor to evoke sympathy for the man, as well as the comedy, both of which the actor does 
effortlessly. 

The major, climactic piece is Peter Shaffer's "Black Comedy," in which the conceit is that when the lights are off, 
everyone in the cast can see perfectly. Once the lights go on, the cast is fumbling and bumbling. 

The thin plot revolves on the impending visit of a billionaire art collector and a young woman's military father, both of 
whom must be impressed with the art for sale by the woman's fiance. The solution is to steal a neighbor's fine furniture 
while he's away. 

Also involved are a prim spinster, also a neighbor, and the artist's not-so-past girlfriend. 

Beth Suzanne Ferrara has chosen a top cast and directed them with elan. All of the ensemble members do yeoman 
work, but the scene-stealing comes from Maria Hickman as the former girlfriend. Shaffer has given her a twofold role - 
her own character and a cleaning lady. She makes the most of the two. 

The misfire of the trio is the spoof of "The Ugly Duckling." It lacks the arch quality and quick pacing required, although 
some performances sparkle. 

The spin concerns the fact that the king and queen plan to substitute a pretty serving maid for their ugly daughter and, 
when the wedding happens, the real daughter will be under a thick veil. Surprise, the prince also is posing as a 
commoner, and unknowingly, the royal pair fall in love. 

There's one more twist, but divulging it would be unfair to potential theatergoers. C.J. Young as the scheming but wise 
king understands the needed style and emerges as the best of the players, with Mark Allen Holt on the right track with 
the nervous, shy prince. 

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