A middle of the road play will end the Fullerton J.C dramatic season this Saturday night. THE WHITE SHEEP OF THE FAMILY is the type of automatic humor that is more often seen on the high school stage; however this production is decidedly collegiate in form, if not in content.
The play opens slowly, proceeding haltingly toward its two jokes, for it is a two joke play. The first of these is the absent mindedness of the vicar, played for all its worth by Henry Hoffman. While no one performer< steals the play, not that anyone would want to, Hoffman's performance is the most inauthentic, which in a farce means that it is the best. He and Art Koustic, as Sam save the first act from a dull death.
No Noel Coward
The second act is more lively, though the lighting in no way helps this. The audience should be able to see the actors, but the reverse is not normally expected. In this act the second joke becomes clear, as Peter, the son of a highly respected family of burglers, pickpockets, and forgers, tells of his intention to "go straight." With the play half over, Nancy McFadden stops playing a Tennessee Williams character, Chuck Fisher realizes that he is not Byran, and Mike Newland realizes that this is not a Noel Coward comedy, though it would be better for both her and the audience if it were.
The third act slows to a crawl. Peter O'Rourke as Peter and Artella Navarrette as his fiancee are caught in some extremely poor play construction and their characters disintegrate, leaving some uncomfortable actors on the Part of the problem in act is that the Vicar is ab- sent, reducing the play to one joke. Another problem is that the ending is telegraphed early in the third act and all the audience can await is the end. In all it is the vehicle's fault.
Rounding out the cast was Don Cummings as the Commissioner, whose British accent was the best of the night but whose character was flat, and Lana Neece of whom the reverse might be said.
Last of Season
The disappointment was that this was the last play of the season. One always wishes for the last to be the pinnacle; however the peak was reached with Act Four and this production was the denouement. In all, the production was entertaining and little more. Dick Odle's set was comfortable, but the least original of the year. This might also be the summary of the play as well.