Romantic comedies follow a well-known formula: two individuals who are meant to be together overcoming obstacles for a happy ending. However, what happens if destiny’s timing is off? Or if the two protagonists resist their fate? This is where “The Last Wide Open” by Audrey Cefaly, with new translations by Celina Martinez, comes in. The play explores the search for the perfect balance that allows fate to unfold between Roberto, a Spanish-speaking immigrant with a romantic spirit, and Lina, a cynical waitress. Presented by the Adirondack Theatre Festival, this charming season opener runs until July 8.
For those interested in attending, here are the details:
– Where: Charles R. Wood Theater, 207 Glen Street, Glens Falls
– When: Various showtimes on Wednesdays through Sundays until July 8
– Tickets: $49 for adults, $25 for individuals aged 18 and under with ID. Tickets can be purchased online, in-person, or by phone at 518-480-4878.
– Running time: 90 minutes without intermission
In “The Last Wide Open,” Lina and Roberto relive the same day three times, exploring different “What if…?” scenarios. Through fourth-wall breaks, the presence of a silent stagehand played by Annabelle Iredale, and occasional songs, the play takes a surreal and introspective approach. The setting of Frankie’s, an intimate Italian restaurant where the characters work, mirrors modern restaurant trends with warm wood tones, green plants, and Edison bulb lighting. Yet, the use of empty frames for walls adds a touch of surrealism and prevents the scenario from feeling too ordinary. Lighting designer Jared Klein enhances the fantasy elements with flickering lights and hues of blue and soft pink.
Robert Ariza delivers an endearing performance as Roberto from his first entrance, while Kimberly Gilbert brings both pathos and humor to Lina’s character, drawing out her neurotic tendencies. However, the structure of the play, which is not always consistent, doesn’t fully serve their performances. Lina’s fear and regret are not consistently present throughout the story, which makes it difficult for her emotional breakthrough in the final fourth-wall break to feel entirely earned.
One notable aspect of Cefaly’s script is her effective use of silence. By allowing moments of stillness, she creates space for the characters’ inner emotions to surface. Director Marcus Kyd trusts Gilbert and Ariza to convey their inner lives subtly yet powerfully. The connection between the seemingly opposing forces of Roberto and Lina is forged in these silent moments. A particularly poignant moment occurs in the second act, where Ariza’s grip on a bridal catalog and his hitched breath speak volumes about Roberto’s past heartbreak and present longing without the need for words.
The music by Matthew M. Nielson, although minimal and not enough to classify the play as a musical, sometimes feels forgettable. This is not due to Gilbert or Ariza’s performances, but rather the fact that it occasionally interrupts Cefaly’s skillfully written dialogue and the engaging performances of the lead actors. However, there is an exception with the final song, a heartfelt confession sung by Roberto, which sets the stage for the inevitable conclusion. After all, this is a romantic comedy.
In conclusion, “The Last Wide Open” offers a unique and introspective take on the romantic comedy genre. While the play’s structure may have its flaws, it is buoyed by the impressive performances of Robert Ariza and Kimberly Gilbert. Audrey Cefaly’s masterful use of silence and emotional depth adds an extra layer of complexity to the story. With its charming setting and moments of fantasy, this play is a delightful choice for theater enthusiasts seeking a different perspective on love and destiny.
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