Musical director Ann-Carol Pence’s band features Skyler Brown on guitar, Maurice Figgins on acoustic bass and Hayden Rowe on violin. Brown also plays second fiddle, as it were, with a couple of bit parts (as the diner’s cook and as a radio DJ). Neither he nor Kay is a member of Actor’s Equity, but both of them are Aurora apprentice-company alums.
Kay is fine delineating her many roles, which also include a mousy new waitress, a lonely old widow and a sensible nurse, as well as Barbara’s volatile sister, her precocious little nephew, and even the amorous Italian hairdresser who is her boyfriend. Fischer specifically intended the script to be performed by one actress (she herself did it off-Broadway), not unlike those “Greater Tuna” comedies in which two actors play all the bumpkin stereotypes of a Texas town.
For Aurora’s purposes, the on-camera format makes the character transitions fairly seamless, while also eliminating the on-stage shtick of a lot of quick entrances and exits and costume changes. But it also prompts more than a few awkward moments, where Anderson alternates between close-ups of two people having a conversation and then cuts to a wider angle of one or the other simply talking into thin air. (One scene contains a nifty visual effect, where we actually seem to glimpse two of Kay’s characters interacting in the same shot.)
Running just 80 minutes, “Barbara’s Blue Kitchen” is harmless enough, if not very intellectually stimulating. Dealing in such hokey Southern idiosyncrasies isn’t for all tastes. For example, one invisible customer orders a pulled pork platter and then wants to “hold the pulled pork.”. Surely, there must be countless one-set, two-actor shows that are much better formulated on the whole.
Even so, there’s no mistaking the pleasure of streaming a performance that’s the closest