Waiting for Guffman 1997

In the quaint and idiosyncratic town of Blaine, Missouri, a unique ensemble of residents gears up for a community theater production orchestrated by the delightfully eccentric director, Corky St. Clair. The musical, aptly titled Red, White and Blaine, aims to commemorate the city’s 150th anniversary while recounting the colorful history of the town.

The leading roles are filled by Ron and Sheila Albertson, a pair of married travel agents who indulge in amateur theatrics, alongside Libby Mae Brown, a chipper employee from Dairy Queen. Joining them is Clifford Wooley, a longtime local and retired taxidermist who serves as the show’s narrator, and Johnny Savage, a handsome yet oblivious mechanic that Corky is determined to include in the production. Rounding out the cast is Dr. Allan Pearl, a notably stiff dentist on a quest to uncover his hidden talents, while high school teacher Lloyd Miller becomes increasingly exasperated as the musical director.

Corky, leveraging connections from his past experience on the “off-off-off-off-Broadway” circuit, invites Mort Guffman, a Broadway producer, to watch the show and potentially offer a review that could catapult them to Broadway fame. The production itself seeks to musically narrate the origins of Blaine, humorously illustrating its founding father’s ridiculous blunders in geography and why the town proudly refers to itself as “the stool capital of the United States.”

The soundtrack features an array of hilariously performed tunes like “Nothing Ever Happens on Mars”, poking fun at the town’s infamous purported UFO sighting, and the aptly named “Stool Boom.” (Bonus tracks such as “This Bulging River” and “Nothing Ever Happens in Blaine” are included in the DVD release but were omitted from the theatrical version.)

At the heart of the film is Corky’s stereotypical flamboyant personality. He claims to have a wife named Bonnie, who remains an enigma to everyone in Blaine, serving as his excuse for shopping for women’s clothes and accessories. When Johnny is pressured by his skeptical father to leave the show, Corky steps into his roles, which are explicitly meant for a youthful, rugged performer. Corky’s portrayal of characters—a spirited young frontiersman, a lovesick soldier, and a little boy donned in a beanie—contrasts sharply with his effeminate mannerisms, bowl haircut, and exaggerated makeup.

Facing the challenge of a minuscule budget, Corky’s aspirations seem dashed when the city council turns down his request for a whopping $100,000 to fund the production. After a dramatic exit, the distraught cast rallies him to return. On the night of the performance, the audience eagerly anticipates Guffman’s arrival, only to discover that his seat is empty. Corky assures the cast that Broadway producers typically arrive fashionably late, which comes to fruition when a man does eventually sit in the reserved spot.

Unfortunately, this man turns out to be Roy Loomis, there to visit his niece’s newborn rather than to critique the show. Despite enjoying the performance, Corky’s disappointment escalates when he learns via telegram that Guffman was unable to make it due to snowstorms in New York, echoing the “Godot” theme that the narrative playfully mimics.

In a reflective epilogue, the fates of the cast are revealed: Libby Mae has relocated to Sipes, Alabama, working at a Dairy Queen after her father’s release from prison. Allan and the Albertsons have taken significant strides towards realizing their aspirations in showbiz, with Ron and Sheila moving to Los Angeles to pursue extra work, while Allan entertains retirees in Miami, Florida. Corky, on the other hand, returns to New York City to launch a novelty shop centered around Hollywood memorabilia, showcasing eclectic items like Brat Pack bobbleheads, My Dinner with Andre action figures, and The Remains of the Day lunch boxes.