‘Boeing, Boeing’ @ Garland Civic Theatre
—Carol M. Rice
With one look at designer Mark Hawkins’ eye-catching set, you know where you are (or, rather, when you are) in time. Groovy, brightly colored walls, doors, and furniture? Must be the ‘60s.—and we haven’t even seen the costumes yet!
The popular farce Boeing Boeing was written by French playwright Marc Camoletti (English translation by Beverley Cross and Francis Evans), and first produced in London in 1962. And Garland Civic Theatre brings the flavor and fun of the ‘60s to their production running through running at the Granville Arts Center.
Bernard is a swinging single living in Paris and juggling three fiancées—no small feat, even before the age of computers and cell phones. But Bernard just needs the timetables of the arlines to keep his ladies apart—for they are all air hostesses (now known as flight attendants) for three different airlines. With the help of his surly maid Bertha, Bernard is so adept at managing their schedules, he often can find a way to see all three of them on the same day!
When Bernard’s American friend Robert comes to visit, he is amazed at his buddy’s logistical skills—until complications (bad weather, faster airplanes, surprise schedule changes) bring everything to a head.
Bernard is played with easy charm by Russell Sims, but as his comfortable life slowly crashes around him, he becomes increasingly frazzled. Watching Sims go from a man who thinks he has everything to one who might end up losing it all is full of comedic absurdity, in the very best way possible. Sims is great at the physical comedy and emotions required for this role.
As Robert, Jonathan Burt starts off as a wide-eyed newcomer to this kind of idyllic bachelorhood (he’s from Wisconsin, after all) but is a fast learner. It’s a lot of fun to watch him interact with each of the women and do his best to help Bernard when he gets into jams.
Bernard’s three fiancées are as different as they can be. Janae Hatchett is adorable as the excitable German flight attendant Gretchen. She’s like a big, bouncy puppy, full of love and enthusiasm (and annoyance), whose mood is constantly changing depending on what’s happening around her. Hatchett has captured a joy in Gretchen that I’ve not seen in other productions, as she’s usually played too angry. Nice job.
As Gabriella, Carine Rice is brilliant as the excitable and suspicious Italian fiancée. She’s the most insistent of the trio that it’s high time she and Bernard get married—and she’s the only one who seems to be able to keep Bernard in line. Rice makes this happen with a fabulous over-the-top accent and wonderful wide-eyed facial expressions.
Speaking of over-the-top accents, Molly Robinson is the American fiancée, and she squeezes every possible ounce of Texas humor from the character of Gloria. Robinson’s Gloria is cute and cuddly, with casual sensuality and a Southern Belle flair. All three of the women have excellent chemistry with Sims and Burt.
Kerra Sims brings stoic wit to Bernard’s overworked maid Berthe. She obviously has fun with the tongue-in-cheek humor and gets lots of laughs as she vainly tries to help keep Bernard’s life intact. Kerra is also the costume designer for Boeing Boeing and has created some stunning 1960s air hostess uniforms for the ladies, with matching hats, of course. Sims’s simple suit works well for the sophisticated Bernard, but Burt’s ill-fitting, oversized pants and shirt (it won’t stay tucked in) make him look sloppy. And Kerra’s maid outfit belongs on a waiter; for the time period, a skirt and shorter apron would be more suitable.
Lighting and sound design are by Allison Larrea, and the pre-show and intermission music is perfectly fitting. Diamond Flores handles the prop management with period-appropriateness, and the intimacy coordination by Lilly McCoullough makes the kissing and other cuddly moments seem natural and believable.
Director Steve Golin has created a very entertaining production of a deceptively difficult play, as the comedy for a show such as Boeing, Boeing can easily take on a ‘forced’ quality. This wasn’t the case here: the pacing throughout was quick without seeming rushed, and the audience at the performance I attended was most responsive. Garland Civic Theatre’s production of this high-flying farce is one to see—before it takes off for parts unknown!
WHEN: April 25-May 11, 2025
WHERE: Granville Arts Center, 300 N. Fifth Street, Garland TX
WEB: garlandcivic.org
