“Boeing Boeing” at Costa Mesa Playhouse

Fasten Your Seatbelts: This Tony Winner Is Sure to Land Laughs

By MaryAnn DiPietro

In a theatre season filled with emotional reckonings and daring dramaturgy, Costa Mesa Playhouse is landing its final show with a different kind of turbulence--- comedic turbulence.

Marc Camoletti’s classic French farce “Boeing Boeing,” translated by Beverley Cross, will close out the company’s 59th season with door slams, romantic entanglements, and mile-high misunderstandings. The play, which debuted in London in 1962 and earned a Tony Award for Best Revival in 2008, follows bachelor Bernard as he juggles three unsuspecting fiancées. All three love interests just happen to be flight attendants, whose tightly timed itineraries begin to unravel with the arrival of a faster jet and an unexpected houseguest.

“It’s a story about a man who has too many fiancées,” says Peter Kreder, Artistic Director of Costa Mesa Playhouse. “He’s trying to play it cool, keeping all their schedules straight, but it all comes hilariously crashing down.”

The production opens at a time of transition for the theatre. After learning they would be losing their longtime venue, the team pulled off what Kreder calls “a Hail Mary,” negotiating to remain in their current space for just three more months. That small window allows them to stage “Boeing Boeing,” the final show of this season-- and possibly their final show in the venue they’ve called home.

From Left: Kendall Sinclair, Adam Ferguson, Tevin Phelps (Photo by Michael Serna)

“We were supposed to be out at the end of the month,” Kreder says. “But we were allowed to use the space for storage for three additional months, so we went for it and asked if we could stay and put up this last show. Thankfully, they said yes.”

A longtime theatre-maker with roots at Laguna Playhouse and training in both New York and Chicago, Kreder first read “Boeing Boeing” in college, then saw a Broadway revival that left a lasting impression. “The production was incredible,” he recalls. “The characters, the pace, the comedy-- everything landed.”

At Costa Mesa Playhouse, the cast is a mix of company regulars and fresh faces, a balance Kreder believes will bring vitality to the stage. The production is directed by Jill Johnson, a longtime colleague of Kreder’s from their Orange Coast College days. “We’ve also got a creative team that’s worked together before, and that really helps in a shortened timeline like this,” he says.

Indeed, the reduced timeline has been one of the production’s biggest challenges. “Everything happened fast,” Kreder recalls. “We had to find the cast, pull the team together, build the set-- all while preparing the theatre for a move.” Fortunately, Johnson has a bit of extra help this summer: her 11-year-old nephew, Desmond Seckman, is serving as Junior Stage Manager. He’s passionate about working behind the scenes, takes his responsibilities seriously, and loves supporting his aunt. “He really enjoys learning the process, and he’s already so good at it,” Johnson says with pride.

From Left: Tevin Phelps, Nadine Salina Salva, Adam Ferguson (Photo by Michael Serna)

Despite the fast turnaround, the play’s design promises to deliver the essence of classic farce—doors. Lots and lots of doors. “We pride ourselves on our sets,” Kreder says. “And for “Boeing Boeing”, strong doors are essential. We built a lot of them. The ins and outs, the timing-- that’s where the comedy lives.”

Johnson’s creative vision for the show is guided by advice from one of her former theatre teachers: “Faster, funnier, and louder.” She also plans to bring a touch of modern perspective to the material, particularly in how the women are portrayed. “They’re making decisions, not just the men,” she says. “I want the characters to feel more three-dimensional-- not the flat, stereotypical versions we’ve seen before. And I’m really looking forward to adding all the bits.”

Though “Boeing Boeing” deals with themes of deception and romantic juggling, the tone is pure comedy-- a deliberate shift from the company’s typically more provocative fare. This season included productions like “How I Learned to Drive” and “Uncle Vanya”, shows that ask big questions and leave audiences emotionally stirred. “We usually like to live on the edge,” Kreder says. “But this one? This one’s just a fun romp. It felt like the right way to end the season-- with a laugh and a sigh of relief.”

It’s also, in some ways, a love letter to their audience. After the final performance of “Sweat,” patrons shared heartfelt farewells, unsure whether they’d see the company again. “There were tears,” Kreder says. “Some have been with us for years. So to be able to offer them one more show-- something joyful-- that’s everything.”

From Left: Tevin Phelps & Stephanie Savić (Photo by Michael Serna)

That connection with their audience is what drives Kreder most. “We love making people think, but this time we want them to breathe, to laugh, to walk away smiling,” he says. “The number one thing we’re looking forward to is seeing our patrons again.”

As for the future, Season 60—which will be Kreder’s first full season as solo Artistic Director-- is still in flux, as the company scouts alternative venues within the school district. They are hopeful they’ll secure a new home. Until then, “Boeing Boeing” offers a final boarding call for joy. And for anyone needing a laugh-- and maybe a little hope-- it’s a flight well worth catching.

MaryAnn DiPietro is an actor, singer, pianist, music director, and writer.

“Boeing Boeing”

Costa Mesa Playhouse

661 Hamilton Street, Costa Mesa, CA July 11- July 27, 2025

(949) 650-5269, www.CostaMesaPlayhouse.com