Free
As director Wendy Worthington succinctly phrases it in her program notes, “This play is about a man who can float.” The irony then is that the show never really gets off the ground. It hovers, instead, between the fanciful and the farcical without a firm grasp on either realities.
With such a magical premise and a terrific cast, it’s difficult to dislike this production outright, but the story does not move. The fault is mostly with the text and although the interpretation is at times overzealous, this production does an admirable job of overcoming its inherent weaknesses. Highlighting the humor keeps the audience tittering, but along the way, it loses too much heart from all the crazy physical antics. Even the requisite “floating” scene is not enough of a payoff.
But seeing a guy float onstage is impressive without the use of any wires or harnesses. Note: Sit in the center if you don’t want to see how they do this special effect. I won’t spoil it here.
Barbara Lindsay’s fractured play touches on several themes concerning friendship, innocence, mysticism and of course, freedom as Marshall “Free” Gunther (Michael Earl Reid) rebels against his sideshow manager Stoney (Greg Albanese) while staying at a dumpy motel on the road. Free longs to be normal, but his inexplicable ability to float and his childlike exuberance keeps him from ever achieving this until he meets a harried motel maid, Patsy (Jane McPherson) who encourages him to break free from his flighty profession and work alongside her making beds.
Trying to drum up extra cash, Stoney finds an eager student in Althea (Dagney Kerr) who treats her floating lesson as a way to break free from her provincial life in an orgasmic epiphany that leads to a crushing disillusionment. Meanwhile, Free and Stoney continue to argue about the practicalities of Free’s new career choice with Stoney’s own personal investment on the line.
Free cannot stop floating. He is the epitome of dreams, a physical embodiment of the intangible. As Stoney puts it, “the stuff dreams are made of.” The spiritual underpinnings are there, but the ensuing comedy detracts from these ethereal aspects. The otherworldly qualities of Free are hinted at throughout the play and perhaps could have done with a bit more emphasis. The choice to make Free so enthusiastic as to become a caricature may have overemphasized the textural shortcomings although it did allow for additional comedic bits.
Worthington’s approach is a steady but anticlimactic buildup, particularly at the start of the first act. The humor is well developed, but some finer moments are lost in the exaggerated melee.
The cast gives it their all with a surprisingly hilarious featured role by Jim Grollman as Althea’s devoted cowboy spouse. Albanese reveals a tender side to his hustling character and McPherson sweetens her no-nonsense Patsy with disarming charm.
But the highlight of the play is Althea’s over-the-top floating lesson with Free. Reid’s wonder and awkwardness plays well against Kerr’s kooky, flamboyant idolization of her teacher.
Criss Angel fans might delight in this amusing comedy about a freakish floater, but theatregoers will probably feel a little letdown.
“Free” at [Inside] the Ford
Runs through Feb 27
Thurs, Fri and Sat at 8pm
Sundays at 2pm and 7pm
[Inside] the Ford
2580 Cahuenga Blvd. East
Hollywood, CA 90068
(Just off the 101 Fwy)
PH: 323-461-3673
www.FordTheatres.org
Free parking onsite