Roger Ebert once wrote that in comedy funny names aren't funny unless they're used by W.C. Fields or Groucho Marx. I am reminded of that dictum by American Players Theatre's production of Widowers' Houses, George Bernard Shaw's first play to be staged for an audience.
There is a character called Mr. Cokane, and the name makes audience members titter - especially because in case anyone missed the gag, Henry Woronicz, in the role, flamboyantly strokes his nose at mentions of the name, as if he had snorted cocaine. He does so again and again. After a while, no one is laughing. Giggles also greet the name of James Ridge's character, Mr. Lickcheese, though Ridge does not attempt to mime that.
The goofy names are gimmickry in a production that has gimmickry to spare. Another instance: a mute performer who, mugging, turns placards announcing each of the three acts. Still another: interludes of peculiar speak-singing that conclude each act.
All the novelties smack of efforts to jazz up a thin script. For although it is always fun when Shaw skewers the English class system, he did so much more robustly in Misalliance, which APT winningly mounted last season.
The plot: A young English doctor (Matt Schwader) meets the daughter (Susan Shunk) of a prosperous businessman (Brian Mani). Smitten, the doctor pledges marriage but soon is horrified to learn that her father's riches come from renting slum properties.
Then come arbitrary developments: the dramatic transformation of a resentful rent collector (Ridge); a revelation about the doctor's income; the abrupt conclusion. It all adds up to not enough.
Even so, thin Shaw is still Shaw, and the play boasts many excellent bons mots, especially from delightfully prissy Cokane. And as the ingénue, Shunk is an impressive force of nature who alternately screams, pouts and beats a servant on the head.