ST. GEORGE — The stories found on TMZ and in grocery store tabloids have nothing on the sordid details emerging in The Stage Door’s latest production of The Cottage by Sandy Rustin, wherein broken vows and toxic relationships become the building blocks for a hilarious night of comedy, surprises, and startling introspection inside The Electric Theater in St. George.
Under the direction of Josh Scott, affairs, unexpected pregnancies, long lost loves, and murder are all being served up with a side of tea when the annual romantic escape for lovers Sylvia and Beau is complicated by the arrival of a few extra guests. Sylvia’s husband Clarke – who happens to be Beau’s brother – and Beau’s wife Marjorie, who, it turns out is having an affair with Clarke, descend on the family cottage sparking the first in a long line of revelations that lead to laughter, but also questions about the true nature of love. The plot takes an additional turn when Sylvia learns she is not the only bit Beau is sampling on the side. The threat of death by the husband, er, ex-husband, of Beau’s second mistress, Diedre, brings life a bit more into focus for all involved; though not necessarily in the way they expect.
It takes a strong director to orchestrate the movements and precise timing necessary for a farce like The Cottage to succeed, and that is exactly what Josh Scott brings to this 1920s British drawing room romp. Under his skillful hand, the cast members’ movements and dialogue unfold like a dance, perfectly timed without any of the lag that can often beset a community theater production. The blocking made good use of the area on stage, including the five exit/entry points, giving the illusion of a much larger space, and providing the necessary privacy for various characters to divulge layer after layer of intrigue.
Each of the six cast members bring their own strengths to the show, yet they manage to execute those strengths with such synergy it is difficult to separate one character from the greater whole. Moving as a unified talent, spilling the tea whilst sipping their tea, one actor emerges for a few moments in the spotlight before returning to support the next, and so on.
Kicking off the evening of deception and torrid lust, Ginger Nelson in the role of Sylvia embodies everything one should expect from a mistress whose misguided certainty in her love affair leads her to believe they should swap their annual tryst for a real relationship. Nelson’s confidence onstage is evident from the moment the lights come up, as she attempts to situate herself on the couch in the most seductive and flattering pose. That confidence carries throughout the performance as she ebbs and flows from elation to devastation in a matter of moments. Her dramatic sighs and deep breaths between certain words and phrases helped to carve out a distinct personality for her character, making her a delight to behold.
Joining Nelson in the upper echelons of acting prowess, Michael Lee’s version of Beau is quick-witted, perfectly timed, and an excellent depiction of hapless humor. He maintained a measure of dignified calm amid the chaos – a juxtaposition that levied even more laughs than might have been received by an over-the-top acting response. Yet it was clear his world was crumbling apart. Despite his excellent chemistry with Nelson in the opening scene, her suggestion to make their love affair a more permanent arrangement brought a look of panic that perfectly portends the unexpected revelations to come.
Of particular note is the energy and creative style oozing from Timothy Merkley’s portrayal of Clarke, Sylvia’s husband and Beau’s brother, whose ongoing affair with Beau’s wife Marjorie is complicated further by the revelation that Clarke is actually the father of Marjorie’s soon-to-be-born baby.
It all sounds convoluted, but don’t worry, it does makes sense in the show.
Merkley offers an effortless innocence, (despite all plot points revealing he is anything but), that endears him to the audience despite his character’s flaws.
Stepping into the role of Marjorie for the night was understudy Gwendolyn Scott, whose seamless acceptance into this well-oiled cast would have made it impossible to know she was not the person typically playing the role, had they not announced the change at the beginning of the show.
From her realistic movements as an 8-months-pregnant woman, to the comfortable way in which she interacted with love-interest Merkley as Clarke, husband Beau, and sister-in-law Sylvia, Gwendolyn proved herself more than equal to the task of filling in for the role.
Just when things couldn’t get any more complicated – or hilarious – Sloane Saunders as Diedre, shows up at the door. Although her wig was the only obvious hair piece on the stage, Saunders’ executed her pivotal part in the story with a naiveté that felt perfectly on point for the character. Her physical comedy was great, particularly as she was rolled around the stage and dropped on more than one piece of furniture after an encounter with a liquor bottle left her incapacitated for a time. And her ability to deliver certain lines while staring into space as if she was under some level of hypnosis, made her piece of the story even more interesting to follow.
The final piece to the casting puzzle, Chad Calmelat as Richard, was an excellent addition to the group. Although at times it was difficult to determine if his occasional bungled lines and halting demeanor were part of his character, or some ill-timed forgetfulness, on the whole he added greatly to the story, surprising everyone with his identity.
There were no obvious technical glitches during the performance, but there were a few times the dialogue could have been a little louder. Particularly in the beginning scene, the conversation seemed to have a difficult time making its way past the edge of the stage. Whether that was a microphone issue or simple the level of projection being used by the actors was difficult to tell. Either way, it resolved well enough as the show went on.
With so many plot points unfolding at once, the stability of the single set design aided well in the storytelling. From the comfortable floral couch and chairs to the gramophone, old-fashioned telephone, and a host of other on-stage props, the cottage itself had a cozy, comfortable feel that was well-designed by Josh Scott, and executed by the creative design team.
MORE INFO: Whether you’re looking for high-brow British comedy, a steamy love affair, (or several), or an evening of hearty laughter and some thought-provoking questions about love in general, come for tea at The Cottage through August 15 at The Electric Theater, 68 E. Tabernacle St., St. George. For more information go online to www.stagedoorutah.com
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