THEATER REVIEW

LONG BEACH PRESS TELEGRAM
Long Beach, California
JANUARY 2006

‘TRIPLE ESPRESSO’

by SHIRLE GOTTLIEB

Fictional performers reunite for maximum laughter

WHEN "Triple Espresso" begins, we find Hugh Butternut sitting in the spotlight at the piano crooning "You're Just Too Good to Be True" to the audience.

Played by Michael Pearce Donley (songwriter, musician and co-author of this production), Hugh then turns directly to us and starts telling the history of the campy, vaudeville-style variety show we're about to see.

His story tells how exactly 25 years ago, three solo performers met over a cup of coffee in Minneapolis and decided to pool their talents and work together. As Hugh tells the story, out pop the other two: Bobby Bean (played by Bob Stromberg, a master of physical comedy with a goofy face and rubber joints) and Buzz Maxwell (Bill Arnold, co-author, terrific magician and dead-pan comic reminiscent of Tommy Smothers).

According to Hugh, about 10 years ago something terrible happened during the "Mike Douglas Show" on national TV. It was so humiliating, the group broke up and hasn't been seen together since. Tonight, in an offer of reconciliation, Hugh has invited Buzz to rejoin him and Bobby onstage.

So begins "Triple Espresso," a show of music, magic and monkey business that is directed by William Partian. During Act I, the trio re-enacts what happened during the 1970s, when the three were a resounding success in frat houses, coffeehouses and convention centers across the country.

Remember the kind of humor that was popular in the 1970s? Everyone sure did in Redondo Beach on opening night. The corny and hokey comedy brought guffaws and loud groans from the audience. Then Bobby, acting dumb like a fox, gets the audience singing "Home on the Range" and "My Home's in Montana" simultaneously — and, periodically, unsuspecting blokes get hauled up on stage to take part in the routines.

The hands-down highlight of Act I is a skit recalling Butternut as a contestant on the "Mancini Cavalcade of Stars." One of the judges is Roddy McDowell, who had just finished filming "Planet of the Apes." As Hugh plays a classical piano piece, Bobby has everyone aching with laughter by his impersonation of a giant ape loping all over the stage and into the audience.

From that point on, things pick up enormously. Sparks fly in Act II, when the material starts to cook, comedic timing is perfect and the wealth of talent these guys have makes itself more evident.

Beginning with Butternut's medley of famous songs suggested from the audience, we follow the trio on a wild goose chase to Zaire, where they perform a hilarious pseudo-African dance routine. Thinking they would be seen on African cable television, they pawned everything they owned to get there. Instead, they lost their shirts.

Coming home with their tails between their legs, they go through a long series of adventures. All of them are related in musical skit or story form; all of them are entertaining. But two stand out.

The first is Bobby's shadow puppet version of "The Hare and the Hound." It is so outrageous people from the audience scream out loud. Then the ultimate highlight of the show occurs.

Drum roll please.

After twisting both of his arms, Buzz agrees to join Hugh and Bobby in a repeat of that "unspeakable, humiliating routine" that caused the group to break up 10 years ago. You can not believe what uncontrollable laughter is achieved by blank pieces of paper and split-second timing. In terms of comedy, this bit is sheer genius.