Plaza Suite

Neil Simon’s play focuses on three different couples in Suite 719 of New York’s Plaza Hotel, and while the three acts explore similar themes there is no overlap of narrative or character.  In the first act, Karen and Sam Nash revisit their honeymoon suite to celebrate their anniversary and perhaps reinvigorate their relationship; the second act tells the stories of Jesse Kiplinger and Muriel Tate, old flames from seventeen years earlier whose paths have diverged quite spectacularly; while the third act revolves around a bride-to-be who has locked herself into the suite’s bathroom, putting her parents’ relationship under the microscope.

The Stonesfield Players made the technical limitations of the venue largely irrelevant by employing a substantial and solidly built box set.  The interior was remarkably well painted, with a mirror, a pair of windows and hanging drapes realistically depicted.  Despite this, the flats sat slightly uncomfortably behind the excellent set dressing which included a suite-style sofa and some impressive period detailing; some practical features on the walls, such as working wall lights or real curtains, would have helped to unify the design.

The visual impact of the production was enhanced by the costumes and make-up which successfully evoked the styles of fifty-odd years ago.  Karen Nash’s suit, very Jacqueline Onassis, and Jesse Kiplinger’s casual wear were particularly reminiscent of the time.  The popular songs of the time that were played between the acts were very well chosen.

This was a very enjoyable evening of live theatre.  The production values were high, and the talented company brought each of the acts to life in an entertaining and thought-provoking way.

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