Stage Review - Barefoot in the Park (Taproot Theatre)

Stage Review - Barefoot in the Park
Presented By: Taproot Theatre - Seattle, WA
Show Run: May 13 - June 20, 2026
Date Reviewed: Friday, May 15, 2026 (Opening Night)
Run Time: 2 Hours, 15 Minutes (including a 15-minute intermission)
Reviewed by: Greg Heilman

Taproot Theatre’s production of Neil Simon’s comedy Barefoot in the Park, running through June 20 on the Jewell Mainstage as part of the company’s 50th Anniversary season, feels like exactly the kind of show that belongs in a celebration of Taproot’s history and identity. Directed by Karen Lund, the production embraces the warmth, humor, and emotional accessibility that have long defined the theatre’s relationship with its audiences. In her opening night curtain speech, Karen spoke about her love for romantic comedies and how naturally Neil Simon’s work fits into Taproot’s tradition of producing character-driven stories that connect deeply with audiences while remaining entertaining and inviting. That intersection is evident throughout this production. Barefoot in the Park may be a classic comedy, but under Karen’s direction it never feels dusty or preserved behind glass. And while, yes, some of the references, gender roles, and relationships skew dated at times, this is a play that feels lively, relatable, and filled with the kind of recognizable honesty that has allowed both Simon’s work and Taproot itself to endure.

Neil Simon possessed a rare ability as a playwright, one that allowed him to expose the absurdity, frustration, and vulnerability of human relationships while making audiences laugh almost continuously along the way. His comedy works because it is rooted in recognition. Whether through verbal sparring, escalating physical comedy, awkward misunderstandings, or emotional contradictions, Simon understood how to find humor in the ordinary struggles of being human. Even in heavier or emotionally charged moments, there is often a joke lurking nearby, not to diminish the seriousness of the situation, but to underscore the strange, sometimes hilarious reality of how people navigate life together. All of those elements are on display in Barefoot in the Park. The sharp dialogue, the physical comedy, the emotional tension beneath the humor, and the portrait of two people discovering that love alone does not erase incompatibility all work together beautifully here. Karen clearly understands the canvas Simon provides, and her direction takes full advantage of it, maintaining a strong comedic rhythm while still allowing the sincerity beneath the humor to land.

First premiering on Broadway in 1963 with Robert Redford and Elizabeth Ashley in the starring roles, Barefoot in the Park quickly became one of Neil Simon’s defining works and remains one of the most enduring romantic comedies in American theatre. Set in a tiny New York apartment at the top of a brownstone on East 48th Street, the play follows newlyweds Corie and Paul Bratter as they settle into married life while confronting the realities that emerge once the honeymoon phase begins to fade, though truth be told, most honeymoon phases last longer than a week, at least we hope. Their apartment itself seems determined to test them, with its freezing temperatures, endless flights of stairs, hole-filled skylight, and constant inconveniences. Around them orbit Corie’s cautious mother Ethel Banks and the eccentric upstairs neighbor Victor Velasco, both of whom complicate the young couple’s already fragile attempts at domestic harmony. What unfolds is a comedy built on opposites, personalities colliding against the backdrop of a marriage still trying to figure out what it wants to become.

Before the performances begin, Mark Lund’s scenic design immediately establishes the realism of the world these characters inhabit. The audience is greeted before the curtain rises by a collection of moving boxes, furniture draped beneath blankets, and the visual chaos of a couple just beginning to settle into a new apartment. Even in those early moments, the details stand out. The period refrigerator, the radiator mounted awkwardly against the wall, the frosted skylight, and the paint-stained ladder all contribute to the feeling that this is not simply a set, but a home still finding its shape. What makes the design especially effective, however, is how the apartment continues to evolve through one of the more creatively executed scene changes audiences are likely to see. Rather than functioning simply as a practical reset between scenes, the progression of the apartment becomes part of the storytelling itself, visually reflecting the evolving state of the couple’s relationship and domestic life.

The properties here (credit to prop master Jaiden Clark) work especially well in grounding the production within its 1963 setting, with most details feeling appropriately period specific. I did, however, find myself briefly pulled out of the moment when the Bell System installer (played by Brian Pucheu) arrives with the couple’s new telephone and unrolls a modular phone cable, an anachronism given that modular connectors did not become more commonplace until the 1970s. To the production’s credit, the issue was corrected in a later scene, but the opening-night moment surrounding it unexpectedly became one of the funniest “live theatre” moments of the evening. It was also only the first of a handful of small opening-night hiccups, which could distract any other cast, but here each is handled by the cast with the kind of confidence, humor, and ease that naturally develops when performers are deeply comfortable with both the material and their characters. Tucker Goodman’s lighting design and Mark’s sound design work in tandem with the scenic world rather than competing against it, complementing the realism and emotional tone of the production nicely, while Nanette Acosta’s costume design is equally effective, helping define personalities while also contributing to many of the comedic beats, particularly in the ways the costumes reinforce the differences between the characters occupying Simon’s carefully constructed world.

While the design work provides an essential foundation for the world of Barefoot in the Park, the success of a Neil Simon comedy ultimately lives or dies through performance. Simon’s dialogue demands precision, rhythm, and timing, but just as importantly, it requires actors who understand that the humor only works if the situations in which it is delivered are relatable. The characters cannot simply chase punchlines. They must feel authentic enough for audiences to see pieces of themselves reflected in the frustrations, insecurities, optimism, and emotional contradictions playing out on stage. That understanding is what elevates this production. Karen has assembled a cast that not only understands Simon’s comedic language, but also the emotional honesty woven through the comedy, allowing the play’s humor to emerge naturally from character and circumstance rather than feeling manufactured for effect.

Leading this excellent cast is Ays Garcia and Arjun Pande as newlyweds Corie and Paul Bratter. As Corie, Ays fully embraces the spirited energy and adventurous optimism that drive the character. Corie is impulsive, romantic, and determined to squeeze every ounce of excitement out of life, even when reality resists her efforts. Ays handles the humor exceptionally well, finding the playfulness in Simon’s dialogue while also delivering the emotional moments with sincerity. There is a looseness and natural charm to the performance that keeps Corie from becoming overly frantic or caricatured, and the audience clearly responds to her warmth and enthusiasm throughout the evening. What makes Ays especially effective in the role is her ability to balance Corie’s youthful idealism with the underlying frustration that begins surfacing as the realities of marriage settle in. She never loses the comedic energy that fuels the character, but she also allows the audience to see the disappointment and confusion beneath Corie’s attempts to hold onto the romanticized version of life she imagined for herself and Paul.

Opposite her, Arjun provides an excellent contrast as Corie’s husband Paul. Paul’s more cautious, structured personality becomes the perfect comedic counterweight to Corie’s spontaneity, and Arjun leans effectively into that tension. Simon clearly understood the dynamics of seemingly mismatched couples, and Arjun captures the appeal of Paul’s grounded nature without losing the humor inherent in his escalating frustration. His delivery of Simon’s dialogue is particularly strong, crisp and controlled while still allowing moments of panic and exasperation to break through. Together, Ays and Arjun create a believable newlywed relationship filled with affection, irritation, attraction, and emotional volatility, all while maintaining the comedic momentum necessary for the script to thrive.

Supporting the pair is Alexandra Tavares, who is terrific as Corie’s mother, Ethel Banks, ultimately emerging as the comedic highlight of the production. Alexandra understands exactly how to navigate Simon’s style of comedy, allowing her humor to emerge naturally from the character rather than forcing it. Her reactions frequently become some of the funniest moments in the show, particularly as Ethel finds herself swept into increasingly uncomfortable and absurd situations. What makes her performance especially impressive is Alexandra’s command of the physical aspects of the role and her remarkable sense of timing. She delivers a master class in how a pause, a glance, a delayed reaction, or even a simple sigh can bring an entire audience to its knees in laughter, as I witnessed first hand on opening night, one of the benefits of Taproot’s thrust configuration, the ability to look across the stage and see how others are reacting. The performance never feels exaggerated for the sake of comedy. Instead, Alexandra roots Ethel in authentic human behavior, which only makes the humor land harder. There’s also something wonderfully familiar in her portrayal of a woman caught between concern for her daughter, uncertainty about her own place in life, and a quiet longing for connection and spontaneity that perhaps she has denied herself for too long. Her work provides an important stabilizing presence amid the escalating chaos unfolding around her.

At the same time, Mike Wu makes the most of every appearance as Victor Velasco, bringing an eccentric charm and theatricality to the role that energizes the stage whenever he enters. Velasco can easily become too broad in lesser productions, but Mike finds the balance between absurdity and charisma, making the character delightfully strange without disconnecting him from the world of the play. Rounding out the cast is Brian Pucheu, who proves equally memorable as the Telephone Repair Man, wringing every ounce of comedy from one of the production’s standout sequences. The physical comedy throughout the production is exceptionally well executed, something Simon’s work demands, and Brian’s performance during the mounting tension between Paul and Corie becomes one of the evening’s most entertaining stretches.

Above all, the production’s greatest strength may be in how effectively it captures the push and pull beneath the humor. Simon’s script may be famous for its jokes, but underneath the comedy is a recognizable portrait of two people discovering that love and compatibility are not always the same thing. This production allows those emotional undercurrents to surface naturally without sacrificing the pace or comic energy. The result is a version of Barefoot in the Park that feels lively, heartfelt, and consistently entertaining.

Few playwrights understood comedic structure and dialogue quite like Neil Simon, and Taproot Theatre’s production serves as an excellent reminder of why his work continues to resonate. Karen Lund and the cast she has assembled find both the humor and emotional authenticity within the material, creating a production filled with laughter while never losing sight of the quieter realities beneath the jokes. It is a charming, sharply performed evening of theatre that celebrates both the absurd frustrations and enduring joys of relationships.

The Taproot Theatre production of Neil Simon’s Barefoot in the Park runs on stage at its Jewell Mainstage through June 20. For more information, including ticket availability and sales, visit https://taproottheatre.org/.

Photo credit: Giao Nguyen