A Few Good Laughs Lack Of Attention To Detail In Casting And Props Keeps ‘Breaking Legs’ From Being Believable Comedy

“Breaking Legs,” Spokane Civic Theatre, through April 29, call 325-2507.

“Breaking Legs” has quite a few laughs. The premise guarantees that it will, since it is essentially a variation on the old fish-out-of-water story.

The fish is Terence O’Keefe, an intellectual professor at a New England university. He finds himself plunged into the middle of an Italian-American family that seems to have come right out of “The Godfather,” or more precisely, “Prizzi’s Honor.” This somewhat timid professor is shocked by the rough goings-on that take place in and around the family’s Italian restaurant. For instance, there’s the matter of Uncle Frankie expiring under suspicious circumstances.

However, “Breaking Legs” doesn’t have as many laughs as it should have. First, Tom Dulack’s script can best be described as slight. Dulack had enough material for one act, but not for two. In the first act, O’Keefe goes to the restaurant and gets the family to agree to back his play. In the second act, they, well, continue to agree to back it.

That is, essentially, the main plot line of the play. It’s not quite enough to keep us fascinated.

The play’s best comic idea is the notion that the Mob would get involved in an artistic endeavor. However, Woody Allen did this better, and with more inspiration, in “Bullets Over Broadway.”

I can see how “Breaking Legs” would work if a crew of excellent character actors sank their teeth into it. Unfortunately, that doesn’t happen in this production.

This production, directed by Barbara Elliott, has a collection of small grating details that add up to a big credibility problem. For instance, David Q. Gigler, who plays Terence O’Keefe, is supposed to be on the far side of 40. He doesn’t look a day over 30, a problem compounded by the fact that his “advanced” age is the subject of considerable discussion.

Also, Chris Nathan is far too young to play Frankie Salvucci, who is supposed to have a mother near 100. She must have had Frankie when she was 70.

These are mistakes of casting, not of acting. Both actors do a fine job. It’s just that their ages create a continuing credibility problem.

Another problem is the casting of William Hay as Lou Graziano, the owner of the Italian restaurant. Hay is a terrific actor, and he does a good job with the character. However, he doesn’t sound Italian. This is like casting Richard Burton in “The Godfather.” A good Italian accent should have been the primary qualification in the casting of this part.

On the other hand, Lei Broadstone, as Angie, is perfectly cast. She comes off like Cher in “Moonstruck”: A smart, funny Italian lady (with a good Italian accent) who feels alternately nurtured and burdened by her big extended family. Also good is Brad Fondiler, who plays the tough-guy Mike Francisco with great verve and a great accent. And Ron Varela is a hoot as his greasy henchman.

But I found it hard to enjoy this play because of the persistent inattention to small details. For instance, when they pour red wine from a basket bottle, the stuff looked like pink strawberry Kool-Aid. A trivial detail, I’ll admit, but if you want me to believe that they’re really in an Italian restaurant, it sure as heck had better look like chianti.