Waiting for Guffman review
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Corky St. Clair (Christopher Guest) is basically a no-talent
milksop with a bad haircut, a would-be stage director and
choreographer who considers himself burned out on the
off-off-misguided-off-off Broadway scene that chewed him up and spat
him out in New York City. Retreating to the hamlet of Blaine,
Missouri, Corky has start sanctuary mounting such locally-acclaimed
and absurd productions as a platform euphonious of the firefighting
thriller, Backdraft . Now, Blaine’s powers-that-be clothed handed
him the break of a lifetime: producing and directing a
musical, a tax to the town’s 150th anniversary. Drawing upon
a handful of Blaine residents to comprise his singing, dancing
cast, Corky throws himself torso and human being into a staged review of
the town’s historical highlights. (Among these is the founding of
Blaine by California-bound, 19th century pioneers who believed
they’d arrived at the West Slide because they could scent the
the deep.) Corky has a still but potentially rivalrous musical
director (Bob Balaban) to contend with, and his wide-eyed players
are all guts and no adeptness. Open auditions result in a ace
local bent including Dr Peark, the dentist (Eugene Levy), travel
agents Ron and Sheila Albertson (Fred Willard and Catherine
O’Hara), Dairy Queen chip girl Libby Mae Brown (Parker
Posey), a townswoman mechanic (Matt Keeslar) and a retired taxidermist
(Lewis Arquette). The possibly for Corky’s takings to Broadway
is the promise of Mr Guffman’s attendance at the
performance, Mr Guffman being a scout for the Oppenheimer
Organisation. Big dreams are born.