Beeing is center of ‘Humble’ passion

This year’s choices for shows at the Stevenot Winery Amphitheatre have made their mark now that “Humble Boy” has opened. Why? Because this is another thought-provoking production that tickles the funny bone and gets the gray matter to churning.

Graham Scott Green and the board of directors at Murphys Creek Theatre should be congratulated for putting together this year’s Theatre Under the Stars series because they managed to include Shakespeare’s “As You Like It,” and two other shows in the season. “Voice of the Prairie” hearkened to simpler times and “Humble Boy” looks forward to a day when families love each other no matter how everyone feels deep down.

Green is Felix Humble, an astrophysicist who bears certain similarities to the Bard’s Hamlet. His father has died unexpectedly and his mother is already swooning with a neighbor. The connection with one of the theater’s greatest tragic figures basically ends there though, as Felix is more concerned with black holes and beekeeping. Yes, “To bee or not to bee?” is a burning question in this Charlotte Jones play.

We join Felix as he returns to his parents’ home in the English countryside, just after he has frozen at his biologist and beekeeping father’s funeral while delivering a eulogy – which only served to infuriate his already domineering mother, Flora, played with remarkable restraint by Christine Nicholson. As Flora rails at Felix for dropping the dialogue ball, we learn much about the mother and son. She might be overbearing and hypercritical, but he’s generally a spoiled brat of sorts, prone to pouting when things don’t go his way. (Familial faults almost always cut both ways, don’t they?)

Nary a scene goes by in which Nicholson – who broke her wrist as the show neared opening night – isn’t commanding whoever is in Flora’s presence. She’s fantastically evil when Jones’ words call for it, and she delivers sarcasm with the best of them. Unfortunately, the people around Flora aren’t always keen enough to listen to what she has to say.

When we see her with her new beau, George Pye, the man she’s been dallying with even prior to her husband’s death (much to Felix’s chagrin), we see opposites attracting. Pye is played by Sid Marsh, who gives the neighbor an air of pomposity that’s amusing when you consider the character isn’t all that great a catch. He’s after Flora’s hive, as it were, and he’ll do almost anything to be with the queen bee. Flora, on the other hand, knows she’s got her drone right where she wants him and she’s all aglow when the couple plans a garden party to celebrate their engagement.

The waters are further muddied by the fact that Felix’s ex-girlfriend is George’s daughter, Rosie. Lara Ford tones Rosie down from her roles as Rosiland in “As You Like It” and Suzie in “Prairie.” There’s a good scene in which Rosie and Felix recall the demise of their relationship and both actors ease into a comfort level that helps the audience appreciate the characters all the more. Rosie is actually trying to help Felix learn the ways of love, but he’s such a scientist, he’s a tough nut to crack.

The second act begins with the garden party, and it’s filled with mean-spirited laughs that almost everyone appreciates. That is, except for when Flora bears down on Mercy, a friend and confidant who prepared the gazpacho no one seems too excited to eat. Earlier in the show, Martha Omiyo Kight played Mercy with a slow quality that appeared to have been for deliberate effect, but in this second stanza, Kight puffs up and speaks Mercy’s piece with great authority, even if it is during the blessing.

I can only mention Stephen Daly in passing because to discuss Jim the gardener would ruin the luncheon dessert. Suffice it to say Daly adds his usual elegance and deft timing to the proceedings.

The action all takes place on a similar set to “Like It” and “Prairie,” but walls have been gussied up and a nursery full of plants has been added to great colorful effect. You can almost sense bees bustling about.

Director Allen Pontes, who was a terrific John Barrymore in “I Hate Hamlet” last season, lets the cast follow the words, it seems. The show keeps buzzing right along.

Green and Nicholson are the stars here, and Green ably steps in front of the lights to give Felix an unsure nature. Felix is crushed at the loss of his father and he can’t seem to come to grips with it; nothing makes sense, and he knows he’s floundering. Felix also knows not to count on his icy mother; she’ll just slap him with more cutting quips. Or will she?

The finish is satisfying and is served without too much honey dripping from the edges. It’s not simplistic and not all of the conundrums are neatly tied up either, but we learn where the family’s moorings lie and there’s much comfort that comes with the knowledge.

There’s a buzz coming from the amphitheater and it’s “Humble Boy.” Bee sure to see it before the swarm is over.