A Stiff Upper Lip

The Cottage

Actress and Playwright Sandy Rustin, originally from nearby Glenview but currently living in New York City, is known for her plays and musicals. Recently she adapted the film “Mystic Pizza” into a stage musical; but, in my opinion, her greatest theatrical work is her hilarious stage adaptation of the cult film, “Clue.” Opening their 2024-25 season, Citadel has scored a win by becoming the first theatre in Illinois to present Sandy Rustin’s THE COTTAGE. The comedy was recently produced on Broadway, directed by “Seinfeld” comic actor, Jason Alexander, and featuring the star of “Will and Grace,” Eric McCormack. 

Ms. Rustin’s sex comedy presents a half dozen quirky British characters, all trying to remain proper and keep a stiff upper lip amidst a strangely twisted plot. When they run out of clever things to say and do, the characters simply make tea or pour drinks. The play provides ample opportunities for plenty of physical humor. Unfortunately, with a two-hour running time, the comedy eventually runs out of steam before the end of the first act. The night I attended this production, the laughter turned into occasional titters, long before the final scene. 

An attempt to describe the plot would most likely only serve to confuse and spoil the humor. As might be expected, it’s about the marriages and extramarital affairs of six individuals who, by the middle of Act II, find that they’re all related in some way. It would appear that Sandy Rustin was trying to write a 1920’s comedy of manners, perhaps with a more feminist voice, as a satire of Noel Coward’s plays. But unlike BLITHE SPIRIT or  PRIVATE LIVES, which also revolves around illicit love affairs, these characters lack Coward’s sophistication, finesse and most of all, his wit.

The comedy begins with promise but the gags soon become too broad and rather predictable. And, just when you think the playwright has mined every possible funny situation from six horny Brits stuck in a quaint, English cottage, she gives us a long—very long—flatulence joke. One of the more delightful running jokes that does earn a laugh every time is when characters nonchalantly search for and eventually discover cigarettes hidden in the most unexpected places all over the cottage. 

The initial setup of the play makes us think that this is going to be similar to a Ray Cooney sex farce, like Citadel’s popular IT RUNS IN THE FAMILY. But it’s not. And the kind of broad physical humor found in great comic farces like NOISES OFF or THE PLAY THAT GOES WRONG isn’t there either. There’s no manic characters running around in their underwear and  slamming doors, as in Georges Feydeau’s farce, A FLEA IN HER EAR. And the silliness of upper crust English society is missing, as in an Oscar Wilde comedy, like THE IMPORTANCE OF BEING EARNEST. Raskin’s dialogue, unfortunately, is often delivered very fast and very loud, which is especially difficult for such an intimate venue. However, having seen this play on Broadway, this seems to be the playwright’s intent.

Talented guest Director Jack Hickey does his best to make Ms. Ruskin’s comedy as much fun as possible. He keeps the play moving at a breakneck pace so that theatergoers don’t have time to register how ridiculous these characters are, or how convoluted is the plot. Each member of Mr. Hickey’s gifted cast seems comfortable and very capable playing comedy. Elizabeth Bushell returns to Citadel Theatre as a lovely and progressive woman named Sylvia. As the playwright’s spokesperson and the main character of this play, Ms. Bushell truly holds the stage with her five cast mates and gives a solid performance. In the most controlled performance, Shannon Bachelder is a very, very pregnant and pragmatic Marjorie. And Melody Rowland is excellent and very funny as Dierdre, with her Kewpie Doll voice and her continual yearning to play party games.

The gentlemen who populate this comedy are equally talented. Philip J. Macaluso is terrific as Beau, the principal male character, around whom most of the plot revolves. Philip, so proper in his pinstripes and gartered stockings, does a good job of trying to keep a stiff upper lip and remain in control at all times. When he finally cracks it’s genuinely funny. As Beau’s brother, Clarke, Joel Ottenheimer is the portrait of calm and control…until he eventually crumples under the strain. Joel is strong and mellow throughout most of the play—a great companion for Ms. Bachelder’s Majorie. And John Dooley, who doesn’t appear until the final moments of Act I, is a breath of fresh air. Mr. Dooley plays Richard—or is he William? And he sports a curly head of hair and a dashing Hercule Poirot mustache—but are they real? John Dooley’s character, like everyone in this play, has a secret they’re hiding and the way Mr. Dooley gradually reveals his truth is great fun.

The real stars of this play, in addition to Jack Hickey’s fine direction, are the show’s technical team. Jeff Award-winning Scenic Designer, Eric Luchen, has created a divinely detailed wooden-beamed cottage, like something out of the Cotswold District of England. Costumer Rachel Sypniewski has designed a wardrobe for her actors that’s lovely, period perfect and inspired by the Broadway production. And kudos go to Audrey Tieman for her monumental work securing a complete cottage-full of appropriate props and set dressing.

THE COTTAGE is pleasantly fun and a naughty, but nice, adult diversion. Although Sandy Ruskin’s new play aspires to be something greater, I don’t think anyone will ever call this particular work a great comedy. It does, however, provide its share of jokes and joy, particularly under Jack Hickey’s skilled directorship and as enacted by a terrific cast. Every possible laugh has been cultivated and delivered, purely for the audience’s pleasure. It’s truly the personification of the British stiff upper lip.                     

Recommended

Reviewed by Colin Douglas

Presented September 14-October 13 by Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL.

Tickets are available in person at the theatre box office, by calling 847-735-8554, or by going to www.citadeltheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.