REVIEW: “Relative Values” is a treat for the ears

The second of the two comedies selected for the summer season of the OLd Lyric Repertory Company, “Relative Values,” takes a bit of getting used to. Unlike the other comedy, “Noises Off,” which relies on broad, often physical humor, “Relative Values” is a chatty affair, a comedy of words and wit that emphasizes dialogue and gives chuckles and chortles instead of roaring laughter.

But both kinds of humor have their place, and both of the OLRC productions produce the desired end result.

“Relative Values,” penned by Noel Coward is a comedic examination — perhaps even put-down — of the British social system. It is a thoughtful and humorous look at highbrows and commoners, with plenty of subtle one-liners to push the pleasant plot along.

The son of a prominent English family (Nigel, played by Jon McBride) has become engaged to a tabloid favorite, an American actress whose roles are becoming less well-received (Miranda Frayle, played by Amanda Rae Jones). The mother of the house ( Felicity, Countess of Marshwood, played by Kathryn Atwood) wasn’t born yesterday and begins to gently manipulate events over the course of two days to keep her son from making a likely mistake. And she does it all with her pinky delightfully in the air.

In large measure, “Relative Values” lives and dies by Atwood’s performance, which is part of the “getting used to” needed by the audience. Atwood’s delivery could only be described as machine gun-like. Her English accent is flawless but her delivery — initially — comes across as over-rehearsed and smacks of memorization rather than characterization. As a result, some of her lines in Act 1 are missed by the audience. Patrons have really got to be on their toes to catch every line from Atwood — and about every other line is a delightful bit of Coward’s humor.

But as the production begins to run its course, it begins to feel less awkward for patrons to try and keep up with Atwood’s portrayal of Felicity. Perhaps the unnatural speed of her delivery is part of the controlling nature of the character or perhaps the ears of the audience become accustomed. Regardless, several of the cast, beginning with Atwood, would do well to play more to the audience than to each other.

William Warren, as Crestwell the manservent of the manor, was seemingly born to play a butler. His performance was flawless, with a delivery that emphasizes his character’s diction and pompous air, perfect to highlight Coward’s wit and wisdom. As Dora Moxton, Keri Larsen is also equal to the task of believability and was well-received. Larsen’s improvement in her starring roles in the last three years at OLRC has been marked. She seemed very much at ease in the role of the personal maid to Felicity and plays a key cog in the play’s story line.

Andrew Dolan, as Don Lucas, a former lover of Miranda and a fly in the love affair’s ointment, didn’t seem to stretch much. He played the slick-haired smooth talker at about the same level he played the slick-haired smooth talker in “Postmortem.” Kent Hadfield, playing a nephew of Felicity, again flows chameleon-like right into his role without a bit of trouble.

Tune your ears to the sharp British tongue, forget slapstick humor and pratfalls, and “Relative Values” will prove to be a second comedic winner for your summer theater experience in Logan.

Relative Values

Directed by Adrianne Moore

Running time 2 hours 10 minutes, with one intermission

Caine Old Lyric Theatre, 28 W. Center, Logan

Tickets: 752-1500

Running in repertory with “Noises Off,” “Route 66,” “Postmortem” until Aug. 5.