The Republican. [volume] (Oakland, Md.) 1877-current, 1956-07-12
The Play Reviewed

"The Show Off" a period piece
of the 192O's, being presented this
week by the Garrett County Play
house, has all the astonishing real
ity of a visit backward in time to
those roaring days. Epitomized by
the character of the show-off him
self, Aubrey Piper, those times
evoke either wistful, nostalgia APP
preciativeness or belittling revul-
sion, depending on whether the
viewer is a son of the POS or a
son of the SOS. Fortunately, all
of US have tinge of the pos, and
that makes the play enjoyable.
Moreover, the play has such gen.
crafty of mood and everyday
language that each of the charac-
tiers becomes someone we actually
know. They become so familiar
that some of the second-act humor
pals, but a sparkling third act
shakes off the dullness.
Author George Kelly's plot is
relatively uncomplicated: Amy
Fisher falls in love with Aubrey
Piper, despite the unconcealed dis
taste for him the rest of the fam
lily has. Mr.. Fisher doesn't like the
show-off to slap him on the back
or interrupt his quiet evenings;
daughter Clara doesn't like Piper's
representing himself as an office
boss instead of the clerk he is; in
ventive Joe Fisher thinks the show
off is a nut. Mrs. Fisher, the most
vociferous of the family, dislikes
him for all these reasons, and
more. Amy listens to none of them
and gets married. When the Pip
ers have to vacate their apartment
and Papa Fisher suffers a fatal
stroke, Aubrey, unabashed by the
legal consequences of his reckless
driving in a borrowed auto, moves
into the Fisher house and matter
offactly takes over. Actually do
ing some good for once, he helps
young Joe's chemical discovery to
bring fat profit. And so, amidst
mixed opinions of the family, Au-
brey Piper becomes a fixture in
the household, a show-off to the
end. If he were to reform, he
would probably do so in Act AZ or
whereabouts.
The show-off is flamboyant,
Dragging, ingratiating, carefree,
eXaggerating. and good natured,
person who overestimates his own
considers himself
versed in all knowledge, and ig-
nores the possibility of his ever do
ing wrong. The exacting specified
lions for such a part are fulfilled
by Leonard Drum. His
actions add much to the
development Of the playwright's |
In his own cane
swinging, hip-wiggling way, he ca
vorts and Frances to some step |
halfway between a soft shoe and |
a chorus lines sashay. He makes
at ease with the outlandish |
and gestures which en- |
rich the role. Occasionally his |
laugh and his look betray a trace
Of shame, which show all the more
the character of any show-off. |
Even his cigar smoking seems con-
trived by an expert to look like
beginner trying to smoke like an
expert. The actors subtleties, lend
ing touches of pitifulness to an
otherwise ridiculous person, are
welcome.
At odds with the character of
the show-off is that of Mrs. Fish
er. She is a pessimistic soul, not
Intentionally, because she has seen
all this stuff about young love be-
fore, and she knows what usually
comes of it. Her remarks come in
an l-told-you-so vein, but she can
quickly discard these to lend some
motherly affection, usually smoth-
ering it in her preoccupation about
running the household, however.
This character probably has the
best lines in the play, and it is
through her that much of the hui
NOR and much 70 the show-off' S
personality come into focus. They
would focus only hazily without
Helen Camps acting. At different
times she is weary, sarcastic, We
hement, sympathetic and coldly
challenging. (Her Listen, boy
lines are priceless.) She chatters
expertly, and moves as if life
time of domestic burdens clings to
her. Her deadpan humor, becoming
almost cynical at the plays end
is delightful in its delivery.
Suzanne Oglesby as Amy per-
q