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By Lyle Huchton of John Garcia’s The Column

Farce: 1: A comedy that entertains the audience with unlikely situations, disguise, and mistaken identity. 2: A fast paced plot whose speed increases, usually ending in an elaborate chase scene. 3: Don’t Dress for Dinner, the current undertaking for ICT MainStage at The Dupree Theatre in the Irving Arts Center.

Like a shot being fired at the beginning of a race, that is how ICT’s production starts off with this delicious little farce. From reading the program, I concluded that there would certainly be some sort of mistaken identity being that there was a character named Suzette and one named Suzanne. The set also offered me some clues as to the action of what was to transpire, seeing that there were 4 doors leading to different parts of the farmhouse. (Doors are another main element in a farce. I kept thinking of another farce, the comedy Noises Off: “All these doors!” “Oh only a handful really.”

We first meet Bernard (J. Alan Hanna) and his wife Jacqueline (Nikki Andoga). Bernard is trying to pack his wife off for the weekend so that he can spend time with his mistress Suzanne, (Ginger Goldman) a Parisian model and actress. As his alibi, Bernard has invited his friend Robert (Brad Stephens). Finally Bernard has hired a chef, Suzette (Angela Allen) to cook them dinner.

When Jacqueline discovers that Robert has been invited for the weekend, she changes her plans to stay at home. It turns out that she and Robert happen to be lovers. In order to cover himself, Bernard convinces Robert to tell Jacqueline that he and Suzanne are lovers, who he confuses with Suzette.

Director Jill Stephens shows a true understanding of this type of frenzy comedy. She keeps the actors moving like mice caught in a maze, with bits of physical activity that never cross over to slapstick. She has also assembled one of the best ensemble casts I have seen to date. There is no tug-of-war here with each fighting for the attention. Each actor handles the script with all its twists and turns, with ease at a brake-neck speed.

Leading the race is J. Alan Hanna as Bernard. Mr. Hanna’s physical actions are spot on. My only negative comment is that he at times rushes through his dialog and we lose some of what he is saying.

Nikki Andoga portrays Jacqueline his wife. She brings a calm, more thoughtful note to her character. Brad Stephens as Robert and Angela Allen as Suzette keep the festive pace rolling. Finally, exploding like a cherry bomb is Ginger Goldman as Suzanne.

Again, the ensemble work here is what most casts can only dream about.

The setting for this farce is to be a renovated farmhouse outside of Paris, France. This proved to be quite a challenge for set designer Erin Ball. The set was so out of proportion that it dwarfed the actors.

In addition to the lack of furniture, which would have allowed more obstacles for the actors to play around with, the painted wall paper was distracting and cartoonish. I felt so far removed from the action; I wanted to move my seat to the edge of the stage to be more involved. There is also a wide expanse between a chaise lounge and two well-placed chairs. The glaring white rug did not help at all to pull the room together. The set said more You Can’t Take It With You than French farmhouse. The only feeling I got from it was that the owners have very poor decorating sense.

The costume design by Binnie Tomaro was effective enough to show character, but it needed a little more pizzazz. The French are famous for their fashion. For example, when the men changed into robes and pajamas, they should have been as sexy as what the women were wearing. There is also a bit with a fur coat. I realize that if this coat were a Chanel knock-off, no one would understand the jokes. I only mention this because in my research the coat in question is referred to as a Chanel. (Although, I have seen Anna Wintour, the editor of Vogue magazine, don a fur trimmed Chanel coat that would make your mouth water.) But this coat was too frumpy. As with all the costumes, I wanted them to be more fashion forward and sexy.

Having said that, it is the wonderful talents of the ensemble that make this a very worthy production to attend.

On a side note: In the lobby of the Dupree Theater there is a delightful exhibit of illustrations by children’s book authors Leo and Diane Dillion. Get there early so you can enjoy these beautiful works of art.

by Douglas Dodasovich, EDGE Contributor

ICT MainStage opened it’s 2009-2010 season with the delectable farce Don’t Dress For Dinner featuring Kristin Chenoweth and Hugh Grant and that guy from The Sopranos. Or not. Confused? Welcome to a farce where no one is who they seem and everyone has something to hide. (We’ll get back to Kristen, Hugh and that guy from The Sopranos later.)

Don’t Dress For Dinner centers on pals Bernard and Robert. Bernard has arranged for his wife to be out of town for the weekend so he can have a romantic weekend with his mistress Suzanne with Robert serving as his alibi. However, when Bernard’s wife, Jacqueline, finds out that Robert is coming she cancels her plans because she and Robert are lovers. Robert reluctantly agrees with Bernard’s scheme to pretend that Suzanne is Robert’s girlfriend and waits at the cottage while Bernard and Jacqueline go shopping for the caterer that Bernard has hired. When the caterer Suzette arrives, Robert naturally assumes she is Bernard’s mistress, Suzanne. Suzette eventually agrees to go along with the plan and all four begin a quartet of performances each with their own motives. Stay with me. The real fun begins when Suzanne, Bernard’s real mistress, shows up and, despite being more comfortable with a cream de menthe than a Cream Brule, is forced to play the cook.

Don’t Dress For Dinner was written by Marc Camoletti (adapted by Robin Hawdon), a master of the modern French farce. This was Camoletti’s sequel to his signature piece, Boeing-Boeing, which opened in 1960 and played a staggering 19 years on the Paris stage. (It recently had a successful Tony-winning Broadway revival.) Dinner ran seven years in London’s West End and has long been a regional and community theatre staple. (A recent Chicago production is being slated for a Broadway run this Spring.) It contains the usual elements of farce: mistaken identities, improbable, twisting plots, broad physical humor, slamming of doors, sexual situations, double entendres and a lightening speed plot. In other words, Three’s Company and Frasier territory.

A light, frothy confection, ICT has a delicious hit due in no small part to a triumphant triumvirate of performances. Spicy, succulent Angela Allen (Suzette) plays over the course of the evening a girlfriend, a model, an actress, a prostitute, a niece, a wife and a cook. Allen has seemingly marinated in the role delivering the wordy dialogue and her shifts of characters with ease. Brad Stephens plays a befuddled Robert with zest. He’s a deft physical comedian reminiscent of the late John Ritter in his prime. And did I mention the more befuddled Robert becomes, the more Mr. Stephens looks like Hugh Grant? (Talent and eye-candy too.) Savory Ginger Goldman, who resembles either Chenoweth (to me) or Kyra Sedgwick (to my husband is a delight outshining everyone whenever she’s on stage. Every nuance, facial reaction and phrase is top-notch. Scott Nixon, looking like he stepped out of The Sopranos makes an effective memorable appearance late in the show. ICT mainstay Jill Stephens directs with confidence and keeps the action moving at a tight pace. A few subtle updates (wireless phones, references to Euros) work seamlessly.

If your idea of theater is a hearty seven-course meal, pass on this. However, if you’re in the mood for a decadent dessert with unexpected bursts of flavor, put Don’t Dress for Dinner on your grocery list.

Don’t Dress For Dinner runs through November 21, 2009 at the Dupree Theatre, Irving Arts Center, 3333 N. MacArthur Blvd., Irving, Texas. For more information visit the theater’s website.