Lights and sound by Cory Mayer excelled in timing and effect, costumes by Suzi Dorgeloh followed their usual period excellence in detail, and the set design by the inimitable Errol Hill, back up by his nine-man set crew and props by Sara Witter, were once again the envy of professional stages. The show lasted a bit over two hours, which included a 15-minute intermission. Fores-Hitt and Mozer displayed tremendous versatility in their back-and-forth repartee, and not just in the dialogue exchanges, but in the emotional push-and-pull so necessary to laughter surrounding comedies.

Likewise, her ideal foil Ferguson has shown no signs of slowing down after his recent retirement from professional acting, with a delightful, mischievous performance.įinally, the newlyweds delivered the contrasting goods. McVicker is fresh off a two-year writing surge to her debut historical fiction novel, “Henderson House,” and jumped right back into her expressive comedy acting with aplomb. Martins and Robinson are the perfect complements to the action, playing their roles well to the very humor that experienced city dwellers, especially old-schoolers, will recognize immediately.įor their part, McVicker and Ferguson provided a perfect complement to the newlyweds. It’s evident from the opening scene that director Hazleton has taken her maiden voyage in the director’s chair very seriously, assembling and drilling a large cast into a well-oiled performance machine. The young couple must learn how to accept and embrace these distinctions as they discover that marriage is no easy-going walk in the park. What follows can only be described as four days full of wild and crazy, one that highlights the deep differences between Paul and Corie. Corie decides to set her conservative widowed Mother (Caren McVicker) up with their eccentric, bohemian neighbor Victor Velasco (Tom Ferguson). Meanwhile, opposites attract and the two are wild about each other.

In the middle of this, we see swoops through the apartment of those ever-present backdrops to urban life (especially in the 1963, when Simon published the play): the Telephone Repair Man (Tom Martins), and the Delivery Man (Michael Robinson). Paul is an organized lawyer who takes his new position and court prep seriously, and Corie is clearly a blithe spirit, romantic to the nth degree. Yes, it may be tiny and a six-floor ascent, the heating may be, well, not running, and snow may be falling through the missing skylight pane, but nothing can dampen their newlywed idealism to start.

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