The title of UC Drama’s latest production of The Rules by ‘90s playwright Charles Mee is misleading considering the plot of this experimental theatre piece seems to follow few rules or guidelines. At the Helen Gardiner Phelan Playhouse, award-winning director Banuta Rubess presents a collection of isolated vignettes vaguely connected through the idea of class-consciousness. Though the disorienting plot seems like it would cause the audience to lose focus, the five talented cast members from the University College drama program succeed in entertaining the whole way through.
Mee’s play allows much room for variation in production, and Rubess uses this to her advantage. At the beginning of the play, we are introduced to the life of the upper-class and their world of country clubs and random luxuriousness. These haunting scenes of materialism in the first act are followed by Uxbridge native Ainslie Drew-Brook’s stand-up routine. Laced with profanity and commentary on racial stereotypes, Drew-Brook’s bit is reminiscent of comedians before her; however, her performance stands above fellow cast member Philip Furgiuele’s later routine on masturbation.
The audience participation aspect of the play seems intimidating at first but luckily plays a minimal role throughout the evening. In order to use the small stage space to their advantage, the cast has the audience move around quite a bit, which helps keep everyone awake for all the laughs.
One of the highlights of the production is the quirkiness and versatility of cast member Katherine Housley. She moves from an English to an American accent with ease and provides a hilarious bit on “oriental carpet making” following intermission. Toronto-born Jennifer Fraser later shows off her charismatic dancing during the cast’s rendition of Michael Jackson’s “Bad.”
Following a disclaimer from Furgiuele is a hilarious hospital scene, which is arguably the most entertaining skit of the night. The use of props is both hilarious and ingenious, and if not for the goofiness of the cast, the audience might even be fooled to believe the patient (Housley) is wide open on the cutting table. While the audience makes it through the night with ease, unfortunately the patient isn’t as lucky.
The Rules plays until March 18 at the Helen Gardiner Phelan Playhouse. Reserve tickets at
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