Complexity Of Relationships Is Focus Of Explosive ‘Fifth Of July’

by Amy Tagliaferri

            What constitutes a family? The 1960s created families out of people with common goals, conflicts to protest and ideas to embrace.  The war in Vietnam and the philosophy of free love and its dramatic consequences in a family of lovers, friends and blood relatives are explored in Lanford Wilson’s “Fifth of July.” 

            In “Fifth of July” audiences are introduced to the Talley family.  Wilson went on to write two more plays about this family who live in Lebanon, Mo., the town in which Wilson was born.  In this play, Ken Talley, a Vietnam vet who lives in his childhood home with his lover Jed and his Aunt Sally, have company for the summer holiday.  Visiting are Ken's sister, June Talley, and her daughter, Shirley, as well as Ken and June's longtime friends, John Landis and his wife Gwen.  June and her precocious 13 year old have come for two reasons, to celebrate the Fourth of July and to push Sally into having a proper ceremony and “burial” for her husband who died a year ago.  Uncle Matt’s ashes are currently in a candy box Aunt Sally carries around.  Gwen, the inheritor of a large business and an aspiring singer, has brought Weston, her guitarist, along too.

            The play explores how the ‘60s formed unusual alliances and relationships through a mutual passion for a new world. The theater is filled with music from the ‘70s, the era the play takes place in, and some will notice that the first act begins subtly with Rick Nelson’s “Garden Party” and the second act begins with another garden song, Tiny Tim’s “Tip Toe through the Tulips.”

            As each character drops pearls of wisdom and enlightenment, the audience, and especially an audience who lived through these times, will appreciate Wilson’s words and will desire to see the show again to fully catch them all. Aunt Sally’s “You really don’t tell someone they aren’t who they think they are,” is priceless.  P.J. McKey is delightful as Sally, and knows exactly who she is. Sally is the scatterbrained yet wise matriarch of this clan, and McKey takes advantage of every nuance.

            Director Maura Hanlon has assembled a cast that flows and ebbs with the carefully crafted dialogue wrought with symbolism. Matt Caffoni is excellent as the morose yet strong-willed Ken, who has lost so much but gained true happiness with Jed. Kristin Purcell is a flamboyant commanding presence as Gwen, and maintains this heightened passion throughout the show.  Peter Gray’s Jed is loving and relaxed in his role as the patient gardener.  Scott Raigel as John got a lot of laughs in his disco attire and yet captures the character’s nasty streak too.  June is a woman of layers and Julie Allen Hamilton unveils them all with an understated strength and grace. Kaitlin Varkados had a blast as Shirley, achieving an over-the-top performance without going so far she loses us. Dan Kelley made the most of Weston, a bit player in this dramatic emotional arena.

            Cape Rep has always enthralled their audiences with complex set designs and “Fifth of July’s” set does not disappoint.   Katheryn Monthei’s set design is wonderful.  The eaves of the house are portrayed by a painted canvas hanging from the ceiling and meticulously constructed panels are walls complete with windows and doors.  Michael Jarett’s superb lighting design and Hanlon’s sound design complete the picture. You’ll enjoy watching stage manager Victoria Flores and crew accomplish the complicated set change during the 15 minute intermission.  Robin McLaughlin’s accurate and sometimes hilarious costumes are as colorful as Gwen’s language.

            The show is close to two and a half hours long with the intermission and you’ll enjoy every minute.