The “Hot l Baltimore,” cleverly named for a burnt out neon letter in the marquee of its decrepit setting, the fictional Hotel Baltimore, is a story of togetherness amid heartbreak and day-to-day doldrums. Set in the ’70s, the hotel itself is becoming a little less than “groovy,” much to the disdain of those who live there. The play has been performed by theaters around the country since 1973 and will be performed in the Drury Theatre at Madison’s Bartell Theatre through Jan. 30.
The story begins with a simple but intriguing young pair working the desk in an ancient hotel. They are soon barraged by complaining occupants, many of whom are permanent residents to the Hotel Baltimore. As the scenes unfold and the characters realize their life of decaying luxury is about to end with the impending demolition of the building, they come to realize the incomparable community they have shared there.
In an atmosphere as dilapidated and miserable as the hotel’s post-glory days, the actors portraying the motley crew of Hotel Baltimore residents need to provide vivid splashes of color and energy to keep the story moving. Luckily, the Madison Theatre Guild cast is capable of achieving just that. The cast is an assortment of thespians pulled from all walks of life, yet, perhaps not as diverse as the roles they take on, which range from a spirit-channeling old woman to prostitutes to aspiring soybean farmers.
One character, Paul Granger III, played by Daniel Torres-Rangel, remains unnamed and asleep in a chair in the corner for the entirety of the first act — the antithesis of audience members’ demeanor at this point in the play, who are sure to remain alert and entertained in their seats until curtain-fall of each showing. Sleeping during a performance of “Hot l Baltimore” would be an impressive feat, with the riotous and argumentative Baltimore occupants cavorting and raising hell at a moment’s notice — it’s really no wonder they are being evicted.
Throughout the play, the actors often talk and sometimes even sing over one another. This din can be distracting at first, but over time it becomes commonplace and creates a medley of sound which not only is understandable, but also illustrates the search for self expression and understanding each occupant faces in his or her own way. As the play progresses and the characters begin to empathize with those around them, the chatter wears down to the point where the characters can identify with and listen to one another.
One crowd favorite is sure to be April Green, played by Jessica Jane Witham, whose smoky East Coast accent pairs well with the cigarettes that she smokes onstage — an aspect the theatre warns asthma sufferers about well in advance.
Another big entertainer is Mr. Morse (Ray Olderman), whose antics will appeal to the portion of the heart reserved just for the most adorable of grandparents. Mr. Morse will make audiences laugh from his very first lines and later outraged when another visitor to the hotel robs him.
Sets and costuming in Bartell Theatre showings are minimal, but they strike a good balance between the 1800s era d?cor of the hotel and the retro, psychedelic garb to characterize the ’70s. Props also add interest to the convoluted plot, such as the era appropriate switchboard and radio and even the checkerboard ripped to shreds in a brawl between Mr. Morse and a young teenage boy, which must be replaced for every performance.
The script’s ending leaves a bit to be desired, with many loose ends as to what will happen to some of the characters when they can no longer call the hotel their home. However, this feeling of incompletion is remedied by the knowledge and support they have gained from one another. The audience can imagine each resident will find a way to survive just as the Hotel Baltimore survived for so many years, even without its “e.”
3 1/2 stars out of 5.
