Weekend Entertainments, 2/1-2/3

In Washington, D.C., summers, we’d go to a movie theater to cool off. You may be considering the same strategy this weekend just to warm up! If so, here’s my take on two movies currently on view and one riotous play sparking the New Jersey theater scene. Let’s take the serious one first.

KiKi Layne and Colman Domingo, If Beale Street Could talk

If Beale Street Could Talk

When James Baldwin published the book this movie is based on back in 1974, it was out of sync with the times and not a success. Americans had turned attention from their civil rights concerns, distracted by Watergate and the windup of the Vietnam War, perhaps, or perhaps it was another sorry indicator of how short our national attention span is for issues that defy quick solutions.

Now writer/director Barry Jenkins has timed the book’s film version perfectly (trailer). All the issues Beale Street raises remain relevant, and our persistent racial injustices are once again top-of-mind. This is a love story with many threads, and each is knotty, whether the love is between a young man (played by Stephan James) and woman (KiKi Layne, the film’s gentle narrator), between parents and their daughter, or between an incarcerated father and his pre-school son, living apart. The acting is all top-notch, and I particularly enjoyed Tish’s parents, Colman Domingo and Regina King, who doesn’t have to say anything to reveal her heart to you.

Rotten Tomatoes critics rating: 95%; audiences: 69%.

Stan & Ollie

Stan & Ollie

As a kid, I was a big Laurel and Hardy fan, and this Jon S. Baird film, written by Jeff Pope, about the duo’s late-stage career, is necessarily bittersweet (trailer). They’re approaching the top of the hill they’re about to go over. Genius British comic Steve Coogan is Stan, the writer of most of the skits and bits, and John C. Reilly, in an unbelievably natural fatsuit and rubber chin is American comic Oliver Hardy.

Although it’s a movie about two slapstick comedians and about what it means to have and be a partner, some of the funniest moments come from the sniping between Ollie’s devoted third wife Lucille (Shirley Henderson) and Stan’s fourth wife Ida (Nina Arianda). The two women can’t stand each other, but even Ida softens when Ollie’s precarious health is endangered. Well worth the price of a ticket!

Rotten Tomatoes critics rating: 92%; audiences: 88%.

Noises Off

Two River Theater in Red Bank, New Jersey, is presenting this non-stop Michael Frayn comedy on stage through February 3. Directed by Sarna Lapine, you may run out of breath laughing well before the end of Act I and the absurdities continue to pile up.

In case you’re not familiar with the story, in Act I, a lackluster theater company is in the final rocky rehearsal for a show called Nothing On, which takes place in an English country house. The house is supposed to be empty, but is soon filled with people trying not to be found there. During the cast’s conversation between scenes, you learn about several ongoing love affairs and problems among them.

In Act II, the set is turned around and, though you hear some of the play dialog on the other side of the wall, the action is backstage, mostly in pantomime, as the lovers quarrel, try to make up, and generally behave badly. There’s a pause before Act III, and the set turns again to the front. Now it’s the play’s last performance, and situations have spiralled totally out of control. Sheer mayhem!

Ellen Harvey plays the housekeeper in the play-within-the-play, Jason O’Connell the homeowner and Kathleen Chloe his wife; Michael Crane is the realtor and Adrianna Mitchell his somewhat dim would-be paramour (when the show is falling apart, she keeps delivering lines that no longer fit what’s happening); Philip Goodwin is an aging actor whose sobriety must be constantly monitored; Gopal Divan is the play director, Phillip Taratula the stage manager, and Kimiye Corwin his assistant. I named them all, because they were all so good!

The Two River ticket office online; or call 732 345 1400.

The Niceties

The title of this political drama by playwright Eleanor Burgess is ironic, as few niceties are demonstrated. Instead, the play, which had its opening night at Princeton’s McCarter Theatre on January 19 and runs through February 10, is an increasingly intense verbal duel between its two characters. As directed by Kimberly Senior, the tension never falters.

White college history professor Janine (played by Lisa Banes) is trying to help her African American student Zoe (Jordan Boatman) improve a paper that sets out a radical reinterpretation of the circumstances of the Revolutionary War. Janine isn’t willing to accept websites as authoritative sources, and Zoe isn’t willing to accept the conventional sources that ignore so much—regarding the lives of the slaves, especially.

They both make cogent arguments, but their disagreement is in part a matter of frame of reference. Janine is arguing from the point of view of a political historian, to whom the thoughts and actions of leaders who have left a paper trail constitute “history.” Zoe is arguing for more of a social history approach that includes the lives of all people, even those who did not and could not write their own stories. To Zoe, a few mentions of these other experiences won’t do it; she wants a panoramic approach that seeks to understand it all. The argument over Zoe’s essay soon turns personal and has significant fallout for them both.

Banes and Boatman have been doing this show since August, first at Boston’s Huntington Theatre Company, then at The Manhattan Theatre Club, and they have polished their performances to a fine degree. Banes epitomizes the condescension of the professor explaining how the world works, and Boatman the arrogance of youth, convinced that even her most extreme positions are true and right. As a result, the characters they play excel in talking past each other, and if there’s a profound message for society today, it’s the need to learn to listen, especially to people who view the world differently.

McCarter Theatre is easily reached from New York by car or train (New Jersey Transit to the Princeton Junction station, then the shuttle bus into Princeton. The shuttle ends a short walk from the theater and the university’s new arts district, as well as two innovative new restaurants. For tickets, call the box office at 609-258-2787 or visit the ticket office online.

Production photo: T. Charles Erickson

The Winter’s Tale

The Winter's Tale, Shakespeare Theatre of New Jersey
Jon Barker, Erin Partin, and John Keabler; photo: Jerry Dalia

Shakespeare Theatre of New Jersey offers a powerful new production of The Winter’s Tale, a play that mixes darkness and light, the tragic and the playful. Directed by STNJ artistic director Bonnie J. Monte, it premiered December 8 and runs through December 30.

A cast of 20 is called upon to present Shakespeare’s story of how jealousy can overcome loyalty, friendship, judgment, how destructive it is to stick stubbornly to a belief despite all evidence to the contrary, and how, in the long run, the only redemption may be through love. Director Monte says this complex play is “part allegory, part searing drama, part pastoral comedy and part uplifting and moving romance.”

Leontes, King of Sicilia (played by Jon Barker), and his pregnant wife, Hermione (Erin Partin), are entertaining Leontes’s longtime friend from Bohemia, Polixines (John Keabler), when Leontes gets it in his head like a worm in an apple that Hermione and Polixines are more to each other than they ought to be. Learning the king means to do him harm, Polixines and Leontes’s courtier Camillo (Patrick Toon) flee Sicily, which only confirms Leontes of the couple’s guilt.

Leontes imprisons his distraught wife, who gives birth to a daughter that the wise woman Paulina (Marion Adler) begs him to see and claim, but he will not. He insists that his general Antigonus (Raphael Nash Thompson) take the baby away and leave it in some desolate place that it survive or die as the fates decree. Reluctantly, Antigonus complies.

Leontes puts his wife on trial, a proceeding interrupted by a message from the oracle of Apollo, who declares Hermione’s innocence. The message also says his son will die and Leontes will have no heir until he is reunited with his lost daughter. The death of the boy convinces him of the oracle’s truth, but the death of her son is too much for Hermione, and she too is struck dead.

Antigonus leaves the babe in a Bohemian wood and, in theater’s most famous stage direction, “exits, chased by a bear.” The infant is discovered by kindly shepherds.

Sixteen years pass, the character Time tells us, and the beautiful girl-child Perdita (Courtney McGowan) has fallen in love with Florizel (Ryan Woods), son of Polixines, though she does not know he’s a prince. The play moves into broad comedy with the country folk, but eventually the plan is made to go to Sicily, where sadness still reigns.There, everyone reunites and theater magic happens, and what was dark is made light again.

The entire cast is strong, with special mention needed for Jon Barker, who can convey every drop of meaning in Shakespeare’s lines through his delivery and unerring body language. Erin Partin and Marion Adler (who received applause for one particularly fiery speech) were also noteworthy. Seamus Mulcahy (Charley’s Aunt in the theater’s most recent production) shows his genius for physical comedy in the secondary role of shepherd. Raphael Nash Thompson and Patrick Toon provided restrained dignity in contrast to Barker’s erraticism.

A simple set is needed to accommodate two countries and numerous scenes, and Brittany Vasta has produced gorgeous, chilly white backgrounds that radiate winter and allow the beautiful costumes of Nikki Delhomme to provide the color. Other production credits to Tony Galaska (lighting), Danielle Liccardo (dance consultant), and Denise Cardarelli (production stage manager).

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable rom NYC by train). For tickets, call the box office at 973-408-5600 or visit the Box Office online. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

A Christmas Carol

Greg Wood as Ebenezer Scrooge; photo: T. Charles Erickson

This is the third season for McCarter Theatre Center’s most recent and most joyous version of A Christmas Carol, its delightful return to Christmas in the Age of Dickens. Opening night was December 7, and this sparkler of a show, based on playwright David Thompson’s adaptation and directed by Adam Immerwahr, runs through December 29.

Immerwahr’s intent when he took on this holiday staple was to explore how Scrooge’s redemption “isn’t just the redemption of one man . . . when a person changes, it can transform an entire community.” His version is filled with songs from what Immerwahr calls “the treasure trove of terrific Christmas music of Dickens’s era.” Even some carols not used explicitly have “become part of the underscoring of the play,” whose music was composed by the late Obie-award winning composer Michael Friedman.

The show exemplifies McCarter’s goal of celebrating creativity, community, and diversity in the presence onstage—and before the curtain, in the lobby and theater aisles—of a cheerful community ensemble of 26 adults and a dozen children. The entire audience is involved in singing the opening carol, and probably no one in the audience avoided beaming and foot-tapping during the Fezziwigs’ Christmas party, with its exuberant, full-cast dance.

Ebenezer Scrooge (played by Greg Wood) has never said “Bah! Humbug!” with more feeling, Bob Cratchit (Jon Norman Schneider) has never been more patiently put-upon, and the rest of the cast, mostly playing multiple parts, is as lively as ever, bringing Dickens’s memorable characters wonderfully to life.

The familiar tale of a miser’s comeuppance is all there. The Ghost of Christmas Past reminds him how he gave up his youthful opportunities for happiness in order to pursue wealth; the Ghost of Christmas Present shows him how others, especially the Cratchits, live; and the Ghost of Christmas Future presents a frightening scenario that causes him to vow to change. Old Marley’s ghost (Frank X) is particularly effective and delivers my favorite line, the sententious “I wear the chain I forged in life.I made it link by link and yard by yard.” The early dark scenes change to light as Scrooge wakes Christmas morning a reformed man.

Underscoring the production’s goal of community engagement is the scheduling of a sensory-sensitive, relaxed matinee performance on December 28, to enable a wider range of people to enjoy a live performance. For tickets, call the box office at 609-258-2787 or visit the box office online.

A Sea of Blistered Tongues

Richard III, Laurence Olivier

Laurence Olivier as Richard III

Shakespeare scholar Stephen Greenblatt made an absorbing presentation last week, here in Princeton, based on his new book, Tyrant: Shakespeare on Politics. What Shakespeare has to say about pretty much any domain of human behavior is worth thinking about, and Greenblatt’s current preoccupation was clearly shared by his receptive audience.

He edged into the topic by describing how Shakespeare has been used in many countries and settings as a screen on which people may project their views about their own leaders—views that very often would cost them their freedom or more, if stated directly. Shakespeare’s notable tyrants—Macbeth, Coriolanus, Lear, and, especially, Richard III—become stand-ins for narcissistic demagogues across time and geography.

He highlighted the would-be king (and real-life character) Jack Cade, who appears in 2 Henry VI, as a populist leader deploying eerily familiar tactics. In Shakespeare’s dialog, Cade makes blatantly absurd promises to the rabble he incites, to wit:

“There shall be in England seven half-penny loaves sold for a penny;

The three-hooped pot shall have ten hoops;

And I will make it a felony to drink small [weak] beer. . . .

There shall be no money; all shall eat and drink on my score;

And I will apparel them all in one livery,

That they may agree like brothers and worship me their lord.”

This peroration is followed by what Greenblatt supposed (correctly in my case) was the only line most people can quote from that particular play, “The first thing we do, let’s kill all the lawyers.” Greenblatt says that, while the cheering rabble could not have truly believed these extravagant promises, their support for Cade was unwavering. Not until scheming Macbeth is exposed as a regicide and murderer, does Malcolm regret his former loyalty, saying, “This tyrant, whose sole name blisters our tongues, was once thought honest.”

Shakespeare’s tyrants arise in eras when, as the book blurb summarizes, “Cherished institutions seem fragile, political classes are in disarray, economic misery fuels populist anger, people knowingly accept being lied to, partisan rancor dominates, spectacular indecency rules.” Such fraught times inspired Shakespeare, as did the tyrants’ narcissistic personalities and the “cynicism and opportunism of the various enablers and hangers-on” surrounding them. These same forces, personalities, and motives give his work continued relevance.

Greenblatt sounded a discouraging note in saying that, while Shakespeare was brilliant at portraying causes and effects in his history plays, he does not point a way to solutions. “There aren’t any good ones,” he said. Yet, remarkably, civilization survived these conflicts and setbacks. On a more positive note, he concluded that what Shakespeare also teaches us is, “We are not alone.”

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Charley’s Aunt

Charley's Aunt

Seamus Mulcahy as “Charley’s Aunt” in an unguarded moment; photo, Jerry Dalia

Charley’s Aunt, the 1892 farce that ran almost 1,500 performances in London’s West End is remounted by The Shakespeare Theatre of New Jersey in a sparkling, fast-paced production directed by Joseph Discher that opened October 27 and runs through November 18.

As the play opens, St. Olde’s College student Jack Chesney (played by Aaron McDaniel) is in his campus rooms, fretting over the draft of a letter to a young lady. He can’t get the news of his attachment quite right, and her family is decamping to Scotland on the morrow. He’s soon joined by his pal Charles Wykeham (Isaac Hickox-Young), suffering similar writer’s block over his letter to another young lady in the soon-to-depart group.

Charley, an orphan, is further flustered by information that his wealthy aunt, Donna Lucia D’Alvadorez will be arriving mid-day to meet him. Though she’s paid for his education from her home in far-off Brazil (“where the nuts come from”), they’ve never met. Jack soon concocts a plan to invite their lady-loves to luncheon in his rooms to meet Charley’s aunt, who can provide a suitable chaperonage. But how to get rid of her when they want privacy? Jack hits on the stratagem of adding their amusing friend Lord Fancourt Babberly—“Babbs” (Seamus Mulcahy) to the party. He can entertain the old lady, surely.

Babbs arrives and mentions he’s taken up amateur theatricals and is about to play an elderly lady in some production. (At this point, the direction of the plot is clear, which doesn’t subtract a bit from the enjoyment!) The costume is produced, Babbs dons it, and almost simultaneous with the arrival of the young ladies is a note saying Donna Lucia’s plans have changed and she cannot arrive for several days.

Poor Babbs is finagled into pretending to be the aunt and the fun is in full sway. More people join the luncheon party—Jack’s father, Colonel Sir Frances Chesney (David Andrew MacDonald) and the father and guardian of the young ladies, Stephen Spettigue (John Ahlin), both of whom have an eye on the fetching (and wealthy) Donna Lucia.

Although the story starts a bit slowly, once the plot gets rolling, there’s no stopping it. When Charley’s aunt—the real Donna Lucia (Erika Rolfsrud)—arrives after all, sizes up the situation, and keeps her true identity secret in order to torment poor Babbs, the catastrophes multiply.

The cast has a great deal of fun with the physical comedy and sight gags, including the three delightful ingenues: Emiley Kiser, Erica Knight, and Sally Kingsford. By maintaining his dignity regardless of the outrages he witnesses, Peter Simon Hilton’s Butler is a perfect comic foil.

Ultimately, the real success of the production rests on the shoulders of Seamus Mulcahy. His Babbs—mugging, fleeing, angry, amorous—is a treat from beginning to end and well earned the enthusiastic standing ovation he and the cast received.

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit the Box Office online. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

The Trial of Donna Caine

The Trial of Donna Caine

Margarita Levieva and Flor De Liz Perez

George Street Playhouse’s 2018-19 season opens with a military courtroom drama directed by the theater’s long-time artistic director, David Saint. Opening night for this world premiere production was October 19, and it runs through Veterans Day, November 11. That date is appropriate, as the play deals with many issues of military hierarchy and justice.

Inspired by actual events from 1956, playwright and former Parade magazine editor Walter Anderson has adapted a story of the tragic incident in which several Marine recruits died in a nighttime exercise gone wrong. He’s brought the action up to the modern day and interwoven it with themes related to the place of women in the Marines, where male and female recruits are thrown together in the crucible of basic training.

In the play two people are determined that co-ed basic training will work: Lt. Colonel Sandra Eden (played by Julia Brothers) and the former Secretary of the Navy who authorized the program, Roy Gill (John Bolger). But when Staff Sergeant Donna Caine (Flor De Liz Perez) leads her platoon into the South Carolina swamp and a rising tide drowns five of them, their reactions differ greatly. Eden works to befriend Caine, who, by all accounts, is a fine Marine and an exemplary drill sergeant; Gill wants to prove the episode is solely the fault of Caine, not a reflection of the training protocol he promulgated. He feels so strongly that he gets himself appointed the prosecutor in Caine’s civilian trial. (I don’t recommend seeing this with any lawyers; they are likely to be squirming in their seats with objections to various problems that strike at the story’s believability.)

Caine is a difficult defendant, prickly and rigid. She takes all responsibility for the tragedy and is almost paralyzed with grief and self-recrimination. Her lawyer, Emily Zola Ginsberg (Margarita Levieva), tells her there is a big difference between “feeling guilty and being guilty.” While it appears the story is going to tackle the co-ed training head on, it never arrives at any conclusion. In fact, the plot is resolved with a kind of investigatory deus ex machina.

This obviates the need for a final “summation for the jury” that establishes a kind of moral order and has made classics out of courtroom dramas like Judgment at Nuremberg, Inherit the Wind, or To Kill a Mockingbird. I missed that, and the play misses it, because while we are told throughout what brilliant lawyer Ginsberg is, we never get to see it.

Melissa Maxwell, who plays the presiding judge in the case, is terrific. Of all the players, she inhabits her role most completely and comfortably. Others in the cast are Ginsberg’s law partner, Vincent Stone (Peter Frechette), defense counsel sounding-board Sergeant Major Clayton Williams (Michael Cullen), private first class Ellen Colessio (Kally Duling), and Ryan George as Gunnery Sergeant Jacob Jasper Walker. He plays an awkward role as Caine’s immediate supervisor (and we find out, fiancé), called to testify against her. Wouldn’t the Uniform Code of Military Justice’s prohibitions against fraternization make such a relationship problematic? No such difficulties are acknowledged.

George Street Playhouse in New Brunswick is being rebuilt. In the meantime, its productions are mounted at its interim home, 103 College Farm Road in New Brunswick. Tickets available from the online box office, or call 732-246-7717.

Don’t Miss! Detroit ’67

Detroit '67

photo: T. Charles Erickson

Just a few more performances of McCarter Theatre’s stunning production of Detroit ’67, directed by Jade King Carroll and on stage through October 28. The summer of 1967 is unforgettable for native Detroiters such as myself, and I’ve looked forward to seeing what light playwright Dominique Morisseau would shine on that bleak page in history. Morisseau is a 2018 MacArthur Foundation “genius grant” recipient and the third most-produced playwright in the country at the moment, so my expectations were high.
They were certainly met, with this powerful story and strong cast. In her story, sister and brother Chelle (played by Myxolydia Tyler) and Lank (Johnny Ramey) have inherited the family home in Detroit, and Chelle is using her portion of their parents’ savings to send her son to the Tuskegee Institute. Lank and his best friend Sylvester (Will Cobbs) have other plans. They want to buy a bar. This would be a big step up from the low-budget blind pig (unlicensed drinking establishment) Lank and Chelle operate in their basement, which is the set for the play.
The Detroit Police Department is going through a repressive period, in which tactical squads of four police officers terrorize, intimidate, and assault residents. If the police discover the blind pig, Chelle and Lank are in deep trouble. Contraction in the auto industry and a significant population decline have decreased economic opportunities for the city’s residents, another reason Lank and Sly want to strike out on their own.
The unexpected presence of the white woman in the household gives the characters a chance to talk about the difference in choices available to them. Chelle is deeply, angrily disappointed that her brother has, in her view, “squandered” the family inheritance—an opinion manifesting in events when the city begins to burn.
Although these are heavy subjects, Morisseau lightens the mood with the humorous efforts of Sly to romance Chelle, and the observations of her best friend Bunny (Nyahale Allie).
It’s also a story about the power of dreams and the importance of having them, and although these insights are not new, the precarious situation of the protagonists makes them all the more pointed. The fact that half a century later the play’s issues regularly resurface in the daily news underscores their continuing importance and well worth seeing.
The theater has put together a rich set of background resources that includes—of course!—a Spotify playlist that leads off with The Temptations’ “Ain’t Too Proud to Beg.” Find it here!
McCarter Theatre is easily reached from New York by car or train (New Jersey Transit to the Princeton Junction station, then the shuttle train into Princeton. The shuttle ends a short walk from the theater and the university’s new arts district, as well as two innovative new restaurants.
For tickets, call the box office at 609-258-2787 or visit the ticket office online.

Vacation Reading, Italian Style

chalk outline, body

(image: pixabay, creative commons license)

Seventeen days out of the country, two eight-plus hour air flights, how many books should I pack? Always the burning question. This time, it turns out, not enough. I packed six and had to raid the hotel guest discards shelf for the return flight. Picked a good one too.

Here are quick reviews of five of them:

****Ellery Queen Mystery Magazine – The nearly 200 pages of this bi-monthly is like reading an entire book, one where you sometimes meet old literary friends, as in:

  • J.Rozan’s tale about the quick-wittedness of an elderly Chinese woman in “Chin Yong-Un Helps a Fool.” One of Chin’s previous escapades garnered Rozan a 2018 Edgar Award nomination.
  • Doug Allyn’s Dylan LaCrosse from Valhalla, Michigan, P.D. in another entertaining story steeped in the ethos of the Upper Peninsula.
  • Richard Helms’s Pat Gallagher, an unlicensed P.I. who roams New Orleans’s French Quarter, toting his cornet and stumbling into trouble. And
  • Lou Manfredo’s Sgt. Joe Rizzo, dealing with a “Brooklyn playboy murdered.”

**The Third Act, by John Wilson – This book which turned out to be YA, I hadn’t realized, blew an interesting premise. An Ohio drama program director writes a concluding act for an unfinished play by the program’s most illustrious graduate. The play is set in China at the time of the Nanjing Massacre of 1937, and the scenes in China create the sense of reading a play—little scene description, a few gestures. But the modern-day framing story is weak, and its grim conclusion sends an unsuitable message for young audiences, in my opinion.

****Faithless Elector by James McCrone – This is a look at one of the ways the U.S. Electoral College might be manipulated to propel a losing candidate into the Oval Office—entertaining and bone-chilling at the same time. Well-written with a bit of a logic stretch here and there. Particularly unnerving (and plausible) is that the conspiracy was discovered only by a fluke.

*****Twice Buried by Steven F. Havill – I love these evocative Posadas County Mysteries, which are fine-grained police procedurals. In this one, Undersheriff Bill Gastner takes great care investigating the apparently accidental death of an unexceptional old woman whose death (and life) law enforcement might tend to write off, and that makes all the difference.

****Half a Chance by John Perrotta – A quick read, this book is steeped in the action and lore of the thoroughbred race track. Someone’s playing fast and loose with big wads of cash, and can he keep all his financial transactions afloat while he rides out of town with the greenbacks? Lots of fun, strong characters, some redemption, and a fine evocation of horse-racing’s arcane world.

Blithe Spirit

Blithe Spirit

Brent Harris, Kate MacCluggage, Tina Stafford; photo: Jerry Dalia

Conceived during London’s 1941 Blitz and brought to the page in a six-day writing frenzy, Noël Coward’s quirky comedy Blithe Spirit was meant to counteract the gloom overtaking the country as battlefield deaths mounted and national collapse seemed possible. It became one of the West End’s longest running non-musical productions, with almost 2,000 performances.

The version currently at the Shakespeare Theatre of New Jersey, on stage through September 2, once again proves this work’s lasting ability to appeal. With spirited direction by Victoria Mack, it moves along briskly, retaining Coward’s farcical elements, though for me, at least, condensing some of that would be appreciated. A bit of business funny the first time isn’t as amusing on the fourth or fifth go.

Still, the author’s ability to craft a witty epigram that seems perfectly apt seventy years later is firmly intact. My favorite, out of the mouth of Charles Condomine: “It is discouraging how many people are shocked by honesty and how few by deceit.”

Charles, the husband of the story (played by Brent Harris), lives apparently quite happily with his wife Ruth (Kate MacCluggage) in elegant, upperclass English drawing-room style. With unreliable assistance from their well-intentioned maid Edith (Bethany Kay), they put on a dinner party for friends.

The party entertainment will be a séance conducted by a local spiritualist, Madame Arcati (Tina Stafford). What seemed a harmless bit of fun unexpectedly conjures the ghost of Charles’s first wife Elvira (Susan Maris), whom only Charles can see and hear. She interacts with him, though for everyone else, his reactions to her are inexplicable (too many martinis?). He tries to pass them off as a joke.

Intent on disrupting Charles’s current marriage by one means or another, Elvira is a devious and unsympathetic character. Coward thus avoided evoking the sadness that might have accompanied a play so concerned with the death of a young person. (Note that the play ends slightly differently than the movie version, in which Rex Harrison played Charles.)

Harris, who was brilliant in STNJ’s production of Tartuffe earlier this season, shines again, and MacCluggage, as Ruth, extracts every bit of nuance from her character. Stafford and Kay both have the opportunity for broad physical comedy and make the most of it, delightfully. Somehow, the character of Elvira didn’t work for me; she was so slinky and manipulative, it was hard to understand Charles’s attraction, in either her corporeal or spiritual form.

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!