TERMS OF ENDEARMENT – Adapted by Dan Gordon; Directed by Sarah Krom. Produced by Longmont Theatre Company (513 Main Street, Longmont) through April 12. Tickets available at 303-772-5200 or LongmontTheatre.org.
The Longmont Theatre Company is to be congratulated for a resurrection of a fine community theatre. Their beautiful space stood empty for a hiatus as they reformed and reorganized. They opened their doors again last October and have performed an additional three productions in the ensuing months. They move forward now with a touching adaptation of the Terms of Endearment movie. It takes a village. This audience member witnessed a village at work before, during, and after this performance. A group of people bonded by a love of theatre, determined to keep the lights on and the audiences happy.
The play itself started slowly but picked up speed as it progressed. It is a semi-faithful rendering of the movie, retaining all the joy, angst, humor, and sorrow of the mother-daughter relationship it details. A typical love/hate dynamic between the two women is illustrated by a photo montage of baby to graduation pictures of the daughter on her journey to adulthood. Aurora, the mother, adores her daughter, but can’t help but be a little jealous of her youth, her potential. Aurora’s disappointment when Emma, the daughter, settles for marriage and motherhood is profound.
Aurora’s emotional salvation comes in the form of a renewed interest in the handsome ex-astronaut who lives next door. A devil-may-care rogue who has been everywhere and done everything, Garrett is ready for fun. Their mutual realistic approach to a mature relationship leads to both humor and hubris. They are a good feisty match for one another.
The script has stripped the superfluous characters away, focusing on Aurora’s surprise romance, Emma’s failing marriage, and Garrett’s determination to maintain his single status. Those who saw the movie will remember how it ends. While the actors did not seem to conscientiously mimic the movie’s characters, the story played out with a familiar feel. Erica Gunaca, apparently relatively new to the Denver theatre scene, but a very welcome addition, played Aurora. She caught the inconsistencies in her character and gave this full-of-life woman a winsome charm. She is the type of actress who inhabits a character so completely that her little unscripted gestures, facial expressions, and speech patterns become the real Aurora in a totally natural way. I can’t wait to see what she does next.
Maia Flat as Emma grew in strength as she transformed from a teenager into a mother and wife. She had to deal with an overpowering mother with love and determination. Their relationship seemed totally open and honest, while contentious. They knew the best and the worst of each other. She even managed to portray a loving mother despite her kids never being present on stage. She faced her final challenge with grace and dignity.
The clown of the cast, Christopher Brian, played the Jack Nicholson part with a touch of the movie’s character, but still made it his own. His character has a tight rope to walk. A charmer with the women and used to a free and easy lifestyle, his growing attachment to this feisty but fabulous woman next door puzzles and yet delights him. In spite of his determination to remain unfettered, his inner good guy can’t help but respond when his friend needs help.
A slightly bigger stage would have helped the set, which needs a space for Aurora’s bedroom, a garden spot in front, Garrett’s door next door, Emma’s living room, and a hospital room. That’s a lot of fit on a normal-sized stage. But they made it work. As soon as the boundaries of each space were set by the actors, it was easy to follow. The costumes were authentic to the era and the function of the scene.
The crew at Longmont has recreated a superior example of good community theatre. I look forward to attending future shows and recommending their fine work.
A WOW factor of 8.25!!