Review Excerpts
“’50-YEAR-OLD FARCE IS FEELING ITS AGE’ J.B. Priestley, the prolific English man of letters who was born in the 19th century, fought in World War I, argued the cause of Liberal Socialism and died only in this decade, never forgot his Yorkshire childhood. ‘When We Are Married,’ his 1938 ‘Yorkshire farcical comedy’ that opened Tuesday at the Geary Theatre, was the author’s wish fulfillment. It’s an affectionate valentine–with a few barbed darts directed at provincial small-mindedness–to the manners and mores and language of the past….As Herbert and Clara Soppitt, Randall Duk Kim and Ruth Kobart are set up as the sight gag couple of the night. He’s tiny and timorous under a thick layer of stage makeup–the henpecked little husband with a curl on his forehead and a nervous chuckle caught in his throat. She towers over him–and the others–with her ominous scowl and a battleship-green dress rigged out with rows of rivet-like buttons….”
–Steven Winn, SAN FRANCISCO CHRONICLE (2/2/1989)
“‘ACT RISES ABOVE THE WRITING IN ‘MARRIED”…Even though the play lacks depth, the production is highly enjoyable thanks to a cast of ACT veterans and director Edward Hastings, the company’s artistic director….The interplay between Kim and Kobart as Mr. and Mrs. Soppitt also is delightful as he overthrows her domination and asserts himself. Herbert squares his shoulders and fills his voice with authority as he orders Clara to be quiet and leave the room. Her look of astonishment melts into resignation as she softens her stance and leaves–not with her usual brusque stride but with the mincing steps one might expect from a harem slave.”
–Judy Richter, THE TIMES (2/2/1989)
“”WHEN WE ARE MARRIED’ IS SHOWING SOME WEAR’…The most interesting thing about ACT artistic director Edward Hastings’ staging of this comedy is the casting. Or to be exact, the choice of Randall Duk Kim to play one of the stuffy Yorkshire Englishmen. Kim, a diminutive Asian-American, is a delight as the henpecked husband of bulldozing Ruth Kobart. She towers and powers over him and reduces the poor nerd to embarrassed two-beat laughs. This is Hastings’ contribution to non-traditional casting and, while I am not always a supporter of such well-meaning schemes, here it is one of the pleasures of the performance….The one especially funny scene involves Kim’s rejuvenation, as he turns on his blowhard wife. Each ‘Shut up!’ wins roars of approval from the audience and Kim seems to truly relish the experience. Kobart is a polished comic actress and the duo are beautifully mismatched….”
–Murry Frymer, SAN JOSE MERCURY NEWS (2/2/1989)
“‘ACT’S ‘MARRIED’ DIVORCED FROM GOOD PLOT’…The play is staged by Edward Hastings, ACT’s artistic director, who has made a specialty of reviving rarely produced works….The three couples represent various shapes, sizes and, apparently, ages. Barry Kraft is the most oppressive of the men, so concerned with his stature that he becomes an ogre; Joy Carlin is his enduring, chipper wife. Michael Winters, the conciliatory husband, is playing host at the anniversary part; Fredi Olster is his wife, the most shocked and anxious when the possibly fraudulent marriage ceremony is revealed. Randall Duk Kim is the chuckling, timid husband with the rare sense of humor; and Ruth Kobart wonderfully underplays the towering presence of his domineering wife….”
–Robert Taylor, THE TRIBUNE (2/3/1989)
