"GROUCHO RETURNS" TO ACT THEATRE IN SEATTLE, AND SO DOES AN EAGER AUDIENCE--A REVIEW WITH VIDEO

Photo: Courtesy of Frank Ferrante

I am not one to read the same book, or watch the same movie, twice, but I could hardly wait for my third chance to see the amazing actor Frank Ferrante portray his idol, Groucho Marx, in "Groucho Returns" at Seattle's ACT Theatre. It made no difference that I had already reviewed "An Evening With Groucho" in 2012 and again in 2013 (See "'An Evening With Groucho' is An Evening Well Spent.") Called "Groucho Returns" in this instance, the show's variety of songs, history, anecdotes, piano music by straight man sidekick, Mark Rabe, and Ferrante's totally unpredictable interaction with the audience, will fill the seats while it plays through August 24. The show is a production of The Central Heating Lab and directed by Dreya Weber. Don't wait too long to get your tickets.

The stage in the Bullitt Cabaret at ACT—which Ferrante's Groucho irreverently refers to as "the dungeon" occupied by a "motley looking crowd"—the stage seemed just as I remembered it: piano, sofa, Oriental rugs, heavy draperies, tables, lamps, books, and parlor palm, typical of the 20th Century's first decade. If I hadn't already met Ferrante, I probably wouldn't have paid attention to the handsome, dark haired man wearing a trench coat and beret who quietly blended in with people entering the theater, only to pass through the room and disappear through a door in the back before reappearing shortly after, on the stage. Then, we'd watch him put on his makeup, hear his voice magically begin to change, and see him pick up his cigar. Right before our eyes, Ferrante would become Groucho Marx. After all, he has spent the past 30 years studying and impersonating his favorite of the Marx brothers.

Photo: Courtesy of Frank Ferrante

So why would I want to see this show every time it returns to Seattle? Even though he has performed it over and over for years, even in London, New York, Australia, and on PBS, it is never the same. It is always engaging and full of surprises. I suspect that being in the presence of the real Groucho gave people the same edgy anticipation the audience feels at ACT, never knowing whether or not they will be one of the people on whom the ad lib humor is focused. If you are, you'd better be a good sport. It's never mean spirited, but could cause blushing. You also never know what will come out of his Ferrante's mouth, and that's part of the fun. Then there are the timeless Groucho lines, songs, and antics. People in Seattle seem to thrive on this, and Ferrante thrives on Seattle.

Photo: Courtesy of Frank Ferrante

I asked him to describe what he likes best about this area. He mentioned the vital Seattle theater scene, the audiences, and the creative talent pool in this city, as well as the natural beauty and sense of community as reasons he loves to come back.

"I have opportunity here to evolve my interactive brand of theater, performing hundreds of times improvising in Teatro ZinZanni as 'The Caesar' and returning now for a third summer at ACT with 'Groucho.' Both of the these venues emphasize live stage comedy performance, and for that I am grateful."

That sense of gratitude was one thing that struck me this time around and is likely a factor in this actor's great success. The charming differences from one performance of his tribute show to another, on this occasion included what I personally felt was a greater revelation of who Ferrante himself really is—a grateful, appreciative, and very nice man, in addition to one so talented. At the end of the evening, when the ghost of Groucho had said his goodbyes in a most touching and memorable way, Ferrante became himself again and expressed his thanks to Kurt Beattie, Carlo Scandiuzzi, and Alyssa Byer of ACT, as well as Norman Langill, founder of Teatro ZinZanni. He was not acting when he showed his warmth and sincerity.

If you're too young to remember Groucho Marx's movies or TV show, "You Bet Your Life," it doesn't really matter. He wasn't the only master of impromptu comedy and crazy antics. As you will see, even as Frank Ferrante celebrates the famous Groucho Marx, he is every bit as good, and that's enough reason for me to drive to Seattle every time "Groucho Returns." I hope ACT will have him back next year so I can go a fourth time. It's a happy habit. 

Now, here's a taste: 



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REVIEW: "AN EVENING WITH GROUCHO" IS AN EVENING WELL SPENT

When it comes to spending "An Evening With Groucho," once is never enough.

Frank Ferrante as Grouch Marx     photo courtesy of ACT - A Contemporary Theatre

That was my conclusion after attending the show by that name, now playing at ACT- A Contemporary Theatre in Seattle. It runs June 13-30 in the Bullit Cabaret, presented by The Central Heating Lab and is a return visit by Frank Ferrante, a actor and director who impersonates the famous comedian Groucho Marx so perfectly it's spooky. No wonder he has been a sensation in New York, London, and on PBS. You can experience a taste of his transformation from Ferrante to Marx in the video below.

See how he seems to acually become Marx right there on stage as the audience watches.
 

 

I had witnessed Ferrante doing his thing at ACT a year ago (see review from 2012) and wondered if it would feel like nothing more than a rerun. But at the matinee last Sunday—technically "An Afternoon With Groucho"—I realized two things almost immediately: 1.) Even with some of the same aspects, the show felt freshly entertaining, and 2.) Watching Ferrante think on his feet with lightning-fast reactions, for a second time, made him seem even more amazing than I my initial impression. And that is saying a great deal.

Some might call it a one-man show, but Ferrante's accompanist on piano—this time the talented Mark Rabe—played not only the baby grand but also an important role as the straight man. His facial expressions and reactions to Ferrante's lines were right on, and even though he uttered only a few words, he packed them with punch. He is also a fine musician who played the instrument beautifully.

photo courtesy of ACT- A Contemporary Theatre



While giving us a picture of the personal and professional lives of Marx and his famous brothers, he also spoke the famous lines we wanted to hear, danced, sang songs, acted silly, leaped onto the couch or piano, impressing us with his athleticism. But best of all, Ferrante did just what his idol would do; he connected with individuals in the audience and poked fun at them with off-the-cuff humor that, while never really mean, was absolutely hilarious, as humane as humiliation can be. And there was no way that any of this had been rehearsed. Of that, I'm sure. At every performance he faces a different crowd and finds funny ways to make them squirm as he fires off comments and questions that crack up everyone. Even if the show incorporates some of Marx's classic bits, the spontaneity of Ferrante's wit makes every performance new. And since they are selling out, I recommend you order your tickets right now.

Since I happened to see the show on Fathers Day, the packed audience at 2 p.m. included a surprising number of children and teenagers. If you're thinking of bringing your own, go right ahead. Neither the language or innuendos should give you cause for concern and are certainly far, far more tame than what kids hear every day. Ferrante interacted with many of these young folks, and I thought treated them very nicely. He teased only gently and they clamoured for his attention.

Let me put it this way; there was only one Grouch Marx, but I doubt his talents were any greater than those of his impersonator. I'm sure he feels honored. You bet your life.

 

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"An Evening With Groucho" at Seattle's A.C.T. Theatre -- a review

Last night at A.C.T- A Contemporary Theatre in Seattle, elements of past and present slipped next to each other like fingers in a handshake. Think of it as a friendly handshake with immortality itself, the type of immortality defined this way: As long as someone remembers us, we exist.

Frank Ferrante                                                photo provided by A.C.T. Theatre

Frank Ferrante remembers Groucho Marx. In fact, he's been obsessed with Groucho since childhood and has devoted his life to portraying the famous comedian in widely-acclaimed and award-winning performances, including a Groucho: A Life in Revue, written by Arthur Marx, Groucho's son. In 2001 Ferrnate wrote and performed in a PBS television show with the same name. Others who remember Groucho, or would like to experience this distinctive humor for the first time, can watch Ferrrante pay homage to his idol through another show he wrote himself, called An Evening With Groucho. It runs through May 20 in the theater's Bullitt Cabaret, brought to us by A.C.T.'s Central Heating Lab, under direction by Dreya Weber.

The Cabaret offered a cozy setting with small tables and chairs as well as rows of seats. The stage held a piano along with early 20th century furnishings and props, all positioned in front of a tied-back red velvet curtain. Period music added to the ambiance, as did images of the Marx Brothers and reproductions of their movie posters. The first person who took to the stage was Musical Director Jim Furmston. He not only played the straight man to Ferrante's Groucho, but also played the piano with impressive skill and great dynamics, whether featured on a solo piece, accompanying a song, or adding special effects.

Frank Ferrante and Jim Furmston on Piano        photo provided by A.C.T. Theatre

Ferrante appeared with some fanfare and introduced himself and his show. Dressed in his signature tails and tie, but without makeup, he then sat down in front of a small mirror to create the character of Groucho right in front of us. But as he rose to his feet, it seemed that some kind of magical transformation had taken place inside of him as well. Instead of Ferrante, we saw the familiar wavy-haired, cigar-carrying man who wore wire-rimed glasses and black greasepaint for a mustache and eyebrows, who rudely joked, made funny facial expressions, cavorted across the stage, and sang silly songs like "Lydia the Tattooed Lady." I couldn't believe it wasn't the real Groucho, and I wondered if Ferrante himself even knew for sure if he still was himself, after having so eerily channeled the spirit that inspired him. When he told stories of Groucho's life—in Groucho's true voice—the actor disappeared and the character's real past became our equally real present.

But it would be a mistake to give Groucho's ghost too much credit for the show's success or assume that all Ferrante did was recite his idol's most famous lines. As I watched Ferrante leave the stage to question, insult, and embarrass members of the audience in true, hilarious Groucho style, it was clear that he was no less quick-witted and funny than the famous vaudevillian he impersonates. Ferrante proved himself to be a top-notch comedian who responded with brilliant off-the-cuff comebacks to anything people said, and did so at the speed of light. And I know these gags weren't staged, since my own husband innocently drew Ferrante's attention. You can be sure that this reviewer's little black notebook and pen quickly and discreetly slipped out of sight as soon as I noticed that attention coming our way. From that point on, I made only mental notes, including one to never again choose a seat in the front row.

As those fingers of past and present clasped each other, time and again, it became clear that Ferrante's decades of intense study of all things Groucho have paid off. I came home to Tacoma well after my bedtime, but couldn't resist looking on YouTube for bits from old Marx Brothers movies or Groucho performing alone. It had been awhile since I'd seen any of that and my reaction surprised me.

Sorry, Groucho fans, but compared to those old black and white images, the richly-hued stage set at A.C.T. wasn't the only thing more colorful. I actually liked Ferrante better than the original.

For tickets and show times, please visit the A.C.T. website by clicking here:  http://www.acttheatre.org/Tickets/OnStage/AnEveningwithGroucho


Copyright 2012 Candace J. Brown