HELP! My maniac brother-in-law wants to kill me!
The story begins in the dressing rooms of West Side Story in the late 1950s. A talented Latina, Rita Moreno, had time on her hands between scenes. She created a character, Googie Gomez, a performer with big dreams, but little talent. Googie became a “party piece” for Ms. Moreno. Fifteenish years later a then not-yet-famous Yale playwright-in-residence, Terrence McNally, was at a large show business party which Ms. Moreno was also attending. She was prevailed upon to perform her Googie schtick. As I heard her tell it, about nine months later a script was left with her doorman.
The plot: An overweight, heterosexual, Cleveland, sanitation company owner is in Brooklyn with his family because his father-in-law is dying. On his deathbed the father-in-law tells his “well-connected” son to “get Proclo! Kill the son-of-a-bitch!”.
Immediately after the funeral Proclo hails a cab and tells the driver to take him “to the last place on earth someone will think to look for me.” The cab driver takes him to The Ritz, a gay male bathhouse (supposedly modeled on the Continental Baths in the basement of the Ansonia Hotel on Manhattan’s Upper West Side). He eventually gets checked-in and runs into an assortment of characters, among them a “chubby-chaser” (someone turned on by overweight people), a good-looking private detective with a high-pitched voice. And, of course, Googie, who “sings in The Pits" (the nightclub inside The Ritz). Ultimately his maniac brother-in-law shows-up at The Ritz determined to carry-out his father’s last wish.
The Ritz is a farce, in case you couldn’t figure-it-out from the setting and the characters. I don’t think anything is funnier than a well-written, well directed farce, with actors who know how to play farce. The secret to directing, and playing farce is in keeping the Fourth Wall (which separates the actors from the audience) intact every second of the performance no matter how far-fetched the action and dialogue get.
Richard Lester has directed a cast of consummate farceures brilliantly. The first time I saw it, in first-run, I laughed so hard I had to stuff my handkerchief in my mouth to keep from annoying the six other people, in a house that could seat close to a thousand, from having me ejected.
Sadly this DVD release doesn’t have any “added features” like interviews with the playwright, director, or actors. I would really like to hear their reflections on the work.
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