Presented by Rattlestick Productions at the Rattlestick Theatre, 224 Waverly Place, NYC, June 18-Oct. 14.
Jennifer Barnes (Alice Vaughn) is a 1962 Donna Reed-style housewife who sums up her wifely duties with " I cooked, I cleaned, I climaxed!" Under the influence of the Cuban missile crisis, Jennifer begins a revolution of her own, thus upsetting the life of her gung-ho husband, Bob (Anthony De Santis), and causing a groundswell of change among neighbors and friends. At just a little over an hour, Doug Field's new comedy very much resembles an extended Saturday Night Live sketch, painted with the broadest strokes in poster colors. The title, of course, refers not only to Cuba, but also more significantly to human anatomical territory. Obviousness is the name of the game, but with an able cast under Rick Sparks' creative direction, some heavy-handed fun is extracted from this cartoon of revolution at home and abroad.
Through Bob's friend Eddie (Dean Fortunato), he learns that Eddie's wife, Cheryl (Erin McLaughlin), might be able to help Jennifer with her problems "down south." Cheryl, whose hair best resembles a tidal wave, unleashes the sexual gates. Observing all this are Jennifer's nosy neighbors, Sue Stevens (Audrey Rapoport), and her husband, Stephen Stevens (David Bicha). When all six characters meet in the one room—with the melodic assistance of Eydie Gorme—the revolution reaches a climax, as it were.
The look of a brightly colored cartoon is wonderfully caught by set designer John McDermott with the help of Paule Doss' inventive costumes. Vaughn stylishly captures a modern Nora, while De Santis displays a convincing ability to speak in slogans. Rapoport's telephone conversations, "This is Sue Stevens, Mother," also goose the comedy along. While wit may not be a distinguishing feature, playwright Field does demonstrate energy and outrage in this comic book of a show. His talent for send-up of American subject matter is one to be encouraged.