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Call Me Waldo The Kitchen Theatre "Whimsical... Boisterously Funny... Call Me Waldo, directed with just the right lightness by Margarett Perry, makes for an engaging 95 minutes" |
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"They are a perfectly performing team!" |
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"Directed skillfully by Margarett Perry, the four actors never go overboard. Brian Dykstra's Gus is loveable... Rita Rehn is stalwart as the patient wife Sarah... As Cynthia, Jennifer Dorr White morphs delightfully from cool and frustrated into a sensual person who enjoys the simpler pleasures of life like miniature golf. Matthew Boston's Lee is the most complicated of the four. He goes from worried to enlightened in the blink of an eye. He is very likeable. It's delightful to see these four people bounce off of each other in intricate ways." |
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"The play takes place on a stage that looks like a garage or construction site-inspired installation (designed by David L. Arsenault). There are naked bulbs in plastic cages, the back door of a truck, and tons of metal beams and plywood. The set is well utilized, highly versatile and fun in surprising ways. It also expresses many different settings with a simplicity that prevents Call Me Waldo from being a play about scene changes." |
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"An engaging excavation of the writings of Emerson, as well as a captivating portrait of mid-life crisis. Call Me Waldo, directed by Margarett Perry with a strong foursome of a cast introduces audiences to an Emerson who is also adept with drill bits and fasteners, and knows his way around sexual role-playing. It turns out that Transcendentalism can be sexy, funny and useful. Emerson may have said it best: 'The reward of a thing well done is to have done it.'" |
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"Margarett Perry directs, with the same creativity she brought to "A Marriage Minuet," "Private Lives," "Chesapeake," "Strangerhorse" and other shows here. This time, the stage looks much like the Kitchen did when it was being remodeled: an interior construction site, complete with metal braces, ladder, plastic buckets and cables on spools... and, thanks to Perry and designer David L. Arsenault (set and lights), absolutely versatile... Transformation is the play's means as well as its theme -- a wall folds down into a bed for an intimate scene; an unnoticed truck door opens for loading equipment; a tiered metal trolley becomes Gus's rickety pickup; and in a stroke of comic genius, a mobile toolbox drawer becomes a backyard grill where Gus, absurd in lobster apron (costumes by Hannah Kochman), barbecues hot dogs."
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