BY CHARLES McCLURE
news@ltview.com
It was, in a word: “Perfect.” This reviewer doesn’t use the word “perfect” very often. In fact, this is the first time, more than a quarter-century after the first review.

 So regardless of title, “I Love You, You’re Perfect, Now Change,” the Lakeway Players’ production of the Joe DiPietro and Jimmy Roberts classic, was flawless, from scene to scene last Friday.
Director Terri Fiset turned a brilliantly written four-person show into a 20-actor tour de force. But she simply shrugged off her moment of artistic triumph with an aside that she just did what worked.
“It just seemed obvious to me that since we had so much talent around here that the show should be enlarged,” Fiset said. “Really, it was a no-brainer.”
Hardly. Instead, this writer, who had not seen the material before, had a difficult time imagining how the show could ever top this production. This deserves the moniker of “professional theater,” and hitting on all cylinders at that.
Without exception, the cast performed to perfection. Not one single performance ever betrayed the original text, and only enhanced it.
The ensemble was so good, no single performance stood out above the other. At times, it was hard to tell the cast had even changed. In yet another word, “seamless” comes to mind.
So here they are, the cast, in playbill order: Inge Biosevas, Larry Bishop, Annette Brown, Barbara Calderaro, Cyndi Cummings, David Cummings, Lee Dilday, Ashley Errico, Terri Fiset, Andy Fleming, Bill Gainer, Will Gainer, Terry Jones, Theresa Lingren, Nancy Nichols, Susan Ohlrich, Mitchell Rad, Will Stokes, Bill Walker, Laurie Wright and Sue Wright.
Take a bow, folks, you deserve it.
While all the cast is perfect, memory is not nearly as dependable. A few things might be worth retelling.
The show was spot on musically. Voices were strong and true and harmonies were crisp, even in the Lakeway Activity Center, which does not possess the best acoustics.
Never did the script betray itself to the uninformed. The writing and professionalism rang strong and true. And was it ever funny.
The sweetness of Gainer and Wright’s reprisal of the “mature single widowed couple” scene was proof positive of the director’s refusal to give way to the original words. Having never seen the show, no one would have been the wiser.
And the director’s instincts were very telling in this scene: Younger actors might have “pulled it off,” but Gainer and Wright added just the proper seasoning.
The show’s initial take on the classic “Greek Chorus” concept laid out the director’s true intent: Who, in fact, knows who comprises the chorus? Tis a muse, friends, a muse.
And mused we were, with “I Love You, You’re Perfect, Now Change.” One sad note is the show deserved a longer run, but the confines of actor and stage availability are understood.
Bravo!