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He starts in a state of frightened and hysterical confusion because of the presence of the likeably honest, kind and pleasant Judy in his bedroom in the morning (Hana Holišová), and then goes on to become entangled in a web of camouflaging lies - much to the great appreciation of the audience.
A good type contrast to him is his more moderate and manly friend and best man, Tom, acted by Petr Štěpán, who gradually sinks into choleric fits of jealous anger.
Milan Němec – Bill, with his trousers on back-to-front – melancholically hops across the boards of the City Theatre, and if at that moment the transport police turned up instead of his future (theatre) wife Rachel (Lenka Janíková), he would fail their breath test very nicely.
The first few minutes are a little shaky, where primarily in the case of Hana Holišová one can’t escape the feeling that the acting is a little forced, but then the situation comedy begins and more actors come on board to get everything going.
The dramaturgist who carried out the translation, together with his colleague Klára Latzková and the director Stanislav Slovák, who is currently just starting out in the musical field (Jánošík, Snow White and the Seven Dwarfs), have mildly shortened and adapted the skilfully crafted text.
The fast-talking, laconic script formed the foundation for a fairly short, dynamic evening filled with craziness that doesn’t, luckily, allow the audience to notice the absence of some kind of deeper level of thought.
He starts the play in fearful and hysterical confusion at the presence in his bedroom that morning of the pleasantly frank, sweet and simply nice Judy (Hana Holišová), and then gets hopelessly lost in a web of camouflaging lies, garnering thunderous applause for his explosive spoken and physical performance.
A good counterpoint, typewise, is his more moderate and manly friend, Tom, who’s also his best man.
The role of the gradually-going-crazy hotel manager, Dupont, was given to Zdeněk Bureš.