Nothing says “spring in Milwaukee” more than the “Jeeves” series by playwright Margaret Raether, based on the writings of PG Wodehouse. The latest effort, Jeeves in Bloom, follows on the heels of a successful 2010 run of Jeeves Intervenes.Both productions are by Milwaukee Chamber Theater.
In an exceptionally smart move by artistic director C. Michael Wright, he tapped well-known Milwaukee actor Matt Daniels to reprise his role as Jeeves, the butler and valet to Bertie Wooster. Jeeves, with his debonair appearance and a solution to any problem on his lips, puts the English aristocracy to shame.
As cleverly created by author P.G. Wodehouse (1881-1975), Jeeves solves every dilemma in the lives of his upper-crust employers. The family fails to see the irony in this situation, as they regularly congratulate themselves on securing the services of the loyal Jeeves. They seem ignorant of the fact that Jeeves is smarter than all of them put together.
At one point in Jeeves in Bloom, the butler seems about to abandon the clueless Bertie. Although Bertie (Chase Stoeger) isn’t the sharpest tool in the shed, he certainly realizes that his life would be immeasurably more difficult without Jeeves coming to his rescue.
In this instance, Jeeves must save not only Bertie, but his extended relatives as well. A lovely, well-paced scene between Bertie and his aunt Dahlia (Marcella Kearns) has the two taking turns speaking aloud the words in their telegrams to each other. This tremendously clever back-and-forth bickering demonstrates the skill of director Tami Workentin.
Here’s the conflict: It seems there is some pressing business at the family’s country estate that requires Bertie’s immediate attention. But Bertie has just returned from the same country estate and questions the reasons for another visit. Irked by his aunt’s invitation, Bertie arrives at the estate with Jeeves (of course) and one of Bertie’s school chums, “Gussie” Fink-Nottle (Matt Koester). The tongue-tied Gussie is hoping to spark romantic flames with another guest at the estate, Madeline (Karen Estrada).
At Jeeves’ suggestion, Bertie offers to play the role of Cyrano de Bergerac for his friend. As Bertie hides in the estate’s moonlit garden (gorgeously created by set designer Steve Barnes and expertly lit by Noele Stollmack), Madeline thinks it is Gussie who is talking. (The entire play strains the limits of one’s sense of disbelief, and this scene is evidence of it.) But the play is not over, and so there is much more to be solved than a simple romantic triangle (with Bertie’s voice subbing in for Gussie’s).
Although all the performances are terrific, there’s still room for an actor to steal the show. That would be veteran actor Norman Moses, who is double-cast both as Marcella’s husband and Anatole, the temperamental French chef. Although Marcella attempts to keep Anatole in line, it is Jeeves, of course, who artfully gains the chef’s confidence. Moses, as if swept into a reverie by Jeeves’ “adulation,” becomes mere putty in Jeeves’ hands. Matt Daniels (as Jeeves) makes exactly the right moves to be entirely convincing as the wily Jeeves.
One can only hope that, with two wildly successful productions of “Jeeves” to their credit, Milwaukee Chamber Theater is planning to include the final chapter in this trilogy in an upcoming season.
