Conflict between two brothers, debate over the war in Vietnam, and a discussion of the rules of the Catholic Church, all set in the tumultuous 60s, could be an interesting play. Last year, a new autobiographical play by Tom Dudzick, Over the Tavern, set in the 50's, won us over with its tasty concoction of tartness and sweetness of spirit. It was all about the Pazinski family from the East Side of Buffalo. Devoted Catholics, their four young children, but for Georgie, who is retarded, were expected to follow the rules set by their religion and their difficult father, no matter how much it might hurt.
In the sequel, King of the Moon (which has broken records in productions at the Buffalo Arena Stage and Pittsburgh Public Theater), the production is technically beautiful, with a bright yellow moon, lit by David O'Connor, hanging overhead; however, the new work just doesn't have the elan the first play possessed. Just like kittens who turn into cats, the kids have grown up and, but for Georgie, portrayed with uncanny electric energy by Sean Patrick Fagan, they are nowhere near as cute or endearing as they were.
Directed by Dennis Lee Delaney, the first act, full of exposition, is rather flat and plodding. Also, we get too much running up and down the stairs of the tree house, yelling, "I'm King of the Whatever." Many things are happening on stage, but there is no focus. It's July 1969, a time of turmoil for America and the Pazinski family. We are in their backyard, realistically created by set designer David Korins on the newly built 7 Angels stage. Set into a wall of dingy brick is the back door of the house, and next to it, the backdoor of the Tavern, which Ellen, played with a lightly ironic touch by Susanna Frazer, still runs since the death of her husband. She has the help of Walter, a widower, given a good grounded performance by Arland Russell. Their scenes ring true.
There's a well-worn table and benches, where the family will gather at the end for the annual picnic held to honor their deceased father, and a large Oak tree that boasts a large tree house, excellent for hiding out and other pursuits. The play's progression over three days is accompanied by the continuous announcements of the take-off and journey of Apollo 11, the shuttle that landed on the Moon, and the music of the 60s. Jake Storms is far too affable as Rudy; following in the rebellious footsteps of his youth when he questioned everything, Rudy's escaped from the Seminary, where, keeping a promise to his dying father, he's been studying for the Priesthood. Having joined tear-gassed protestors against the Vietnam War, he's arrived home hot to convince his brother, Eddie, not to go overseas to fight. Eddie, played by the muscular Tim Artz, is married to coarse and crude Maureen, who is trying hard to become part of this close-knit family; pregnant with her first child, she is played with persuasive earthiness by Wendy Martling. The boys' sister is unhappy Annie (Allison Sharpley), who has been married for three years to Stan, so obsessed with toy trains that he pays no attention to her.
The issues, here, are, at times, inconsistent. Why should Rudy initially deny his sister a divorce and annulment when he, himself, is such a radical? Why should the family even hold these memorial picnics when their father was so objectionable? On the other hand, the second act has some interesting turns and twists, while moving toward its obvious conclusion.
