It can be argued that Neil Simon is not only Americas most successful
short-changewright, unless also the most successful playwright in the storey of theatre.1
Despite being criticized for lack of substance, his hugely successful comedies
are consistently revived, whether on Broadway or in other community or
dinner theatres. Last workweek the University of Notre Dames Mainstage season
opened with the departmental premiere of Barefoot in the Park. Though
the play in the beginning opened more then thirty years ago, the themes of
compatibility and via media that it presents are still relevant today. Simon
masterfully manipulated the plot of Barefoot in the Park to include all of the
elements of a fine play (intrigue, credibility, surprise, etc.) and to create a
viable playscript that both evinces the plays major themes and, just as
importantly, makes the earreach laugh.
        Simon has skillfully constructed the plot of Barefoot in the Park to
showcase and emphasize his themes of compatibility and need for
compromise. The plot itself starts out fairly simple. In the starting signal play, Paul
and Corie Bratter, wed but six days, move into their new flatbed on the
top floor of a brownstone in New York City. From the genuinely first, the
audience can see that these are two very various characters that have very
different values, and yet Paul and Corie are very such(prenominal) in love.![]()
The plot
progresses as other characters are introduced. First to call off the newlyweds is
Cories mother, Mrs. Banks. The relationship between Corie and her mother
also involves a clash of very perspicuous personalities. With the appearance of
the Bratters eccentric upstairs neighbor, Victor Velasco, Corie sees the
opportunity to play marriage broker and inject a little romance into her staid
mothers life. The first act concludes with Cories plan to bring the two
together at an upcoming...
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