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Labohn & Company Cast Gimlet Eyes on 'Sweet Talkin' Guys' to Benefit Doctor's Fund
Photo by Bruce-Michael Gelbert
Curtain Call, and Sylvia's speech

Donald Labohn and his Doctor's Fund Benefit company have paid frequent tribute to the ladies, lofty and lowly, of the stage, the silver screen, and so on, but this July 12, they placed the men, those "Sweet Talkin' Guys (and Other Male Animals)," under the probe to no less hilarious effect. This was the 12th annual benefit show, brilliantly conceived and directed by Donald; produced by Meryl Facterman and Lois McIntosh in association with the Arts Project of Cherry Grove; and performed at the Community House for the benefit of the Elmer A. Lindsay Memorial Center, which ensures the presence of a doctor in the Grove. The cause is serious, but the show kept one smiling, when not laughing out loud, and, as always, came to a conclusion far too soon. And, as usual, there were generous helpings of gender blurring, with guys played by guys and by women, and gals portrayed by our fabulous queens.

Cobra, glittering, leggy 'card girl,' introduced the acts and, though she doesn't do dialogue, communicated volumes. And, in the scenes that she prefaced, miraculous, memorable moments abounded.

In the opening, title quintet, Luisa Verde, Donna Piranha, Charity, and Shirley and Sylvia Shapiro (the last Donald's alter ego), all obviously expecting, saluted those too persuasive 'sweet talkin' guys,' against a very gay backdrop of beefcake pin-ups. In "This Guy Really Delivers the Goods," Coco and Homecoming Queen Margo limned Don Verteramo's charms in "Can That Boy Foxtrot," the song cut from "Follies." Bobbie Green and Doreen Rallo were natty fellows trading juicy tidbits in "What a Swell Party This Is! (Well, did you ever?)" in a scene billed as "Yes, Men Love to Gossip, Too." "Can Men Compete with Women?" Cobra's card queried, and Luisa and Gary Greene, elegant in top hats and equipped with walking sticks, vied for top and traded barbs in "Anything You Can Do," from "Annie Get Your Gun."

As "He [who] Looks for Love in All the Wrong Places," a classy Joanne Tavis, President of the Lindsay Center, resonating in "Some Enchanted Evening," from "South Pacific," made a play for a truly trashy Shirley, who appeared to want no more than to be left to work her corner in peace. Lola made a bid for the attention of Bobbie, "A Shy Kind of Guy," head buried in National Geographic, and seduced 'him' with "I Want to Be Bobby's Girl." "He Teaches the Rhythm Method," we were told, as "Teacher's Pet" Donna made a play for her dance instructor, Roger Cortez, with Gary and Don as their affectionate back-ups.

"Some Men Can Drive You Crazy" indeed and Coco, all twitches and tics and "Mad about the Boy," unraveled before our eyes, dismembering her nude male doll. "This Guy Is a Born Liar" found Urban Sprawl riding for a fall when she put her trust in double- crossing Don, defending himself with, "How Could You Believe me When I Said I Loved You, When You Know I've Been a Liar All My Life?" "My Son the Lawyer"-Doreen as slick, sweet-talking Billy, from "Chicago"-made promises he couldn't keep to Coco, Donna, the Shapiros, Charity and Luisa, while averring, "All I Care about Is Love." And matters got even shadier thereafter!

"Don't Bring this Guy Home to Meet Mother!" Cobra's card warned, as Joan Van Ness, advising that "Only the Good Die Young," played Big Bad Wolf, all hands, leather vest and Elvis pompadour, to prey Lola's innocent schoolgirl. "Everybody Should Have a Houseboy" and dominatrix Margo--in black bustier and high boots--with Robert Ferri--in collar and black leather harness, shorts and boots--at the end of her leash and responding to her lash, showed she meant business when she observed that "It's So Nice to Have a Man around the House." There was more S&M in store when leather stud Gary, as "The Gay Male Escort," issued an irresistible invitation in the form of a masculine twist on Mae West's "Come Up and See Me Sometime."

Triangles and threesomes were on the agenda in "Finding the Perfect Husband," as Bella made us kvell with a lecture on "Marriage Jewish Style," involving not just a wife, but also "a shikseh [a gentile] on the side," and in "A Gent Must Be Generous," with the Shapiros making modest requests to Joan, as their well-heeled protector, for a "brand new car, champagne, caviar," in "Hey, Daddy!" The focus turned to the underage male in "Boys Will Be Boys," with Bobbie, Doreen, and Joanne as bratty triplets, perpetually at war with each other, and "A Guy with a Healthy Appetite," with Mama Charity plying "Growing Boy" Robert with lobster, burger, and so on.

The grand finale, "And Other Male Animals," found the 'beasts' behind bars of an elaborate circus wagon, designed by Harold Seeley, while Bella led the gals in "Bring on the Men," from "Jekyll and Hyde," ending with a sensual group hump and grind when the cage was opened and the guys set free.

In closing remarks, Sylvia/Donald thanked her "demented" cast, as well as Matt Baney, Michael Romanelli and Sherri Rase, of the technical crew; Arthur Cohen, Jane Haber and Peg Ryan, of the stage crew; Urban/Richard Cooley, responsible for hair and make-up, and all others involved in making the "event" a success.


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