Stage Review - Rumors (Red Curtain Foundation for the Arts)

Stage Review - Rumors
Presented By: Red Curtain Foundation for the Arts - Marysville, WA
Show Run: May 29 - June 21, 2026
Date Reviewed: Sunday, June 21, 2026 (Closing)
Run Time: 2 Hours (including at 15-minute intermission)
Reviewed by: Greg Heilman

I’ve mentioned before how one of the most enjoyable parts of reviewing is watching the personality of certain theaters develop over time, or at least over my expanding experience with them. For some companies, there are some shows that simply fit its personality. Red Curtain Foundation for the Arts in Marysville has built a reputation for community-focused productions that balance strong individual performances with ensemble-driven shows that excel at delivering humor and emotion, and Neil Simon’s Rumors feels tailor-made for that approach. First produced in 1988, Rumors remains one of Simon’s most successful farces, a rapid-fire comedy built on misunderstandings, escalating lies, and increasingly absurd attempts by its characters to keep a scandal from spiraling out of control. Under the direction of David Alan Morrison, Red Curtain’s production (which closed this past Sunday) embraces every ounce of that chaos, delivering an evening that is consistently funny and exceptionally well-paced.

The story begins when Ken and Chris Gorman arrive at the upscale home of New York Deputy Mayor Charley Brock and his wife Myra to celebrate their tenth wedding anniversary. Instead, they discover Charley wounded from an apparent gunshot wound and Myra nowhere to be found. Fearing a scandal that could damage Charley’s political career, the guests begin constructing increasingly elaborate stories to explain what has happened. As additional couples arrive and the lies multiply, the situation becomes more and more ridiculous, eventually culminating in the arrival of two police officers determined to get to the bottom of the mystery.

Farce is a unique theatrical form. It demands more than simply delivering punchlines. The success of delivering a play in this genre depends upon timing, precision, physical comedy, and an ensemble willing to fully commit to increasingly improbable circumstances. David clearly understands this. His casting is picture-perfect, and his direction elevates material that is already funny on the page through countless physical touches that add another layer of comedy. Throughout the production, characters stumble, hide, gesture, freeze, overreact, and scramble their way through increasingly desperate situations, with each addition feeling purposeful rather than excessive. The movement and physicality throughout the show are carefully crafted, creating visual comedy that consistently amplifies Simon’s already sharp writing. These are directorial choices that simply elevate the overall quality of the delivery of this piece.

More than anything, though, what makes this production work is the collective effort of the ensemble. Farce falls apart when even one performer is operating at a different speed than everyone else. Here, every actor seems fully attuned to the rhythm of the piece. The deliveries are consistently sharp, the reactions are just as funny as the lines themselves, and the cast maintains the mounting sense of panic that drives the comedy forward. The result is an evening where the laughs continue to build as each lie becomes more elaborate than the last.

Among that ensemble cast, James Lynch stands out with a terrific performance as Lenny Ganz. Having seen James in several productions over the years, predominantly at Phoenix Theatre in Edmonds, it is clear that he understands the mechanics of farce. Here, however, James delivers the strongest performance I’ve seen from him to date. His rapid-fire delivery, expert physical comedy, and ability to transition seamlessly between exasperation, panic, sarcasm, and genuine emotion make Lenny one of the evening’s highlights. His escalating frustration, particularly when he allows himself to boil over before visibly reining himself back in, is wonderfully executed, and this done repetitively just adds to the humor, it’s never overdone. For those familiar with Rumors, a high point for anyone playing Lenny is his monologue recounting the evening’s events, especially when it’s done well. Here, James delivers it with precision and confidence, and in doing so creates one of the production’s standout moments. His sarcasm is delivered at an elite level, and his ability to balance the comedy with genuine emotional investment keeps the character from becoming a caricature.

Morgan Peeler is equally memorable as Ken Gorman. As one of the first characters tasked with managing the increasingly impossible situation, Morgan carries much of the show’s early momentum and every moment thereafter is just as impactful as a result of his presence. His reactions to the madness unfolding around him are consistently funny, and his explosive outbursts generate some of the evening’s biggest laughs. Morgan understands exactly how far to push the character’s panic without losing the audience’s investment in him.

Another surprise standout for me, Robyn Hare brings a sharp wit to Cassie Cooper, leaning effectively into the character’s sarcasm and frustration. While Cassie spends less time on stage than many of the other characters, Robyn makes every appearance count, consistently finding ways to steal whatever scene she occupies. Contrasting her nicely is Kennan Miller as Cassie’s husband, Glenn Cooper. As the ambitious prospective state senator, Kennan provides a grounded presence amid the escalating absurdity, creating an effective balance to Robyn’s scene-stealing energy. The show’s program lists this as Robyn’s return to the stage after a protracted absence. Here’s hoping any future absences from the stage are far and few between.

Rita Baxter and Megan McDermott are excellent as Chris Gorman and Claire Ganz, respectively. As the often more level-headed halves of their marriages, Rita and Megan serve as effective counterweights to their increasingly emotional husbands. Whether through a perfectly timed look, a biting remark, or a subtle reaction, both actresses add significantly to the production’s humor. At the same time, Codie Wyatt embraces the theatricality of television chef Cookie Cusack, bringing an entertaining level of over-dramatization to the role that fits perfectly within the show’s heightened reality. Opposite her, Jeffrey Moore excels as Ernie Cusack, a man desperately trying to maintain some semblance of order amid the chaos despite possessing very little ability to actually do so. Jeffrey’s attempts to remain rational while events spiral increasingly out of control generate some of the evening’s most relatable comedy.

Rounding out the cast are Lydia O’Day and Liz Sholdez as Officers Welch and Pudney. Arriving late in the proceedings just as the web of lies has become nearly impossible to sustain, the pair provide the final catalyst for the production’s comic crescendo and cap the evening’s chaos with strong comedic timing of their own.

In support of these wonderful performances is the admirable and collective work from the design team. Set and Lighting Designer Scott Randall creates an attractive and highly functional environment for the farce to unfold. The layout is thoughtfully designed, with doors positioned perfectly to facilitate the constant entrances and exits that are essential to the genre. The upper-level landing and stairway provide additional opportunities for movement and visual interest while helping the action flow smoothly. Beyond its functionality, Scott’s design communicates a sense of wealth and status through its color palette and decorative choices. The artwork incorporated into the set further enhances the overall visual aesthetic, creating an environment that feels carefully considered rather than merely practical.

Costume Designer Dorothea Koetje’s work similarly helps establish character personalities and social standing while supporting the many physical demands placed upon the performers. The costumes help define each character while reinforcing the upscale world these guests inhabit. Props Manager Courtney Calkins and Sound Designer Paige Harvey-Barringer provide additional support that keeps the production moving smoothly, while Stage Manager Davi Sholdez ensures the evening’s considerable comic machinery runs without a hitch.

One of the greatest compliments that can be paid to a production of Rumors is that it feels effortless. In reality, farce is among the most difficult forms of theater to execute successfully, requiring tremendous coordination between performers, director, and technical team. Red Curtain Foundation for the Arts makes it look easy. Through sharp direction, excellent casting, strong design work, and an ensemble that understands exactly how this style of comedy works, this production delivers exactly what audiences hope for when they attend a Neil Simon farce: two hours of escalating chaos, expertly orchestrated and consistently funny from beginning to end.

Neil Simon’s Rumors, from Red Curtain Foundation for the Arts, has closed in Marysville, but for more information about the organization and upcoming shows and programs, visit https://redcurtainfoundation.org/.

Photo credit: Kenny Randall