What’s Old is New Again and it’s Hysterical

Sandy Rustin’s The Cottage takes the best of a classic British farce, folds in some more contemporary ideology, and comes up with something so incredibly funny, Noel Coward would not have imagined it.

It’s onstage now to September 27 at Alleyway Theatre and it’s a superb way to launch its 46th season, with a good balance of backstory, outlandish situations, and a fresh spin on who is the victor when adults are making questionable choices.

The setting is a cottage (hence the name) that is as charming as any British domicile circa 1923, from the sweet chintz, fine china, gramophone in the corner, hunted bounty on the wall opposite a portrait of the family matriarch, and cigarette lighters disguised as bric-a-brac everywhere. It’s also the site for some philandering between Beau (Todd Benzin) and Sylvia (Anna Krempholtz). To divulge too much plot here would ruin the story arc. Let’s just say that Benzin is the quintessential British barrister and Krempholtz (who shifted into the role with only a few days of preparation, and she was magnificent) is a delight as his bright and winsome paramour. A simple dalliance? Oh no. There’s so much more. Enter Kelly Copps as Marjorie, Sylvia’s very pregnant sister-in-law, and Clarke (Chris J Handley), Beau’s brother and Sylvia’s husband. In roles that fit them as snuggly as fine gloves, they banter, they spar, they smoke, they cast all manner of aspersions, and it’s all so darn good. Then we meet Dierdre (Paige Cummings, also new to the cast with a few days to spare), Beau’s paramour with a clandestine past and uncertain future. If this isn’t good enough, the next knock at the door is Richard (Daniel F. Lendzian), Dierdre’s ex with an axe to grind (make that a rifle in hand) and some secrets, too. They are all exceptional.

A very good script and an outstanding ensemble need the right frame, and Tim McMath’s set is perfection. Props Master Diane Almeter Jones tricked it out with the right stuff, from crystal bar decanters to cigarette accessories of every ilk. Collin Ranney assembled some lovely costumes, too, from Marjorie’s adorable spectator t-strap shoes to Beau’s braces and socks and Sylvia’s flouncy peignoir. Director David E. Shane knit this all together wonderfully well.

Clever dialogue and plenty of laughs and sophisticated and sometimes simple sight gags make this a wonderful night of theatre. Even the Theatre Companion enjoyed this one and he’s a tough nut to crack.

Make sure to spend sometime with the printed program, too. I love it when companies add some value to the usual program info and this one has some great tales, especially how that clever Ms Jones used AI to create the matriarch’s portrait.

The Cottage runs about two hours with an intermission. Find tickets and details at alleyway.com.

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