“The Cottage,” a farce written by Sandy Rustin, has docked at the Helen Hayes Theater, but unfortunately, it seems to be struggling to keep its comedic boat afloat. The play, directed by Jason Alexander, opened to mixed reviews, with some praising the elegant performances of the cast while others questioned the play’s ability to fully embrace the farcical genre.
Set in the 1920s in a classic Cotswolds hideaway, the story revolves around Beau (played by Eric McCormack) and his sister-in-law, Sylvia (Laura Bell Bundy), who engage in a once-a-year tryst. Both are already involved in adulterous relationships, making their initial problem of Sylvia wanting more commitment and Beau being overbooked seem somewhat trivial.
The complications arise when Beau’s pragmatic wife, Marjorie (Lilli Cooper), and her foppish lover, Clarke (Alex Moffat), arrive on the scene. The adulterous affairs intertwine, leading to humorous yet predictable situations. However, the play lacks the necessary intensity and verbal finesse to elevate it to the level of a true farce.
The dialogue, though attempting to mimic the wit of Noël Coward’s era, falls short, leaving the characters talking in pseudo fancy circles without truly engaging the audience. Despite the amusing set design by Paul Tate dePoo III and the clever jazz soundscape by Justin Ellington, the stakes in “The Cottage” feel too low to fully captivate the audience’s attention.
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Eric McCormack and Laura Bell Bundy manage to shine with their self-aware performances, hitting their comedic marks with precision. Alex Moffat, known for his work on “Saturday Night Live,” delivers extreme character choices that border on modern dance, adding some sporadic moments of humor. Yet, these bright spots are overshadowed by the play’s overall struggle to find its farcical liftoff.
Although Rustin attempts to weave a feminist angle into the story, it feels forced and hurried, lacking the impact it could have had with better development. The play ultimately lands more as a spoof than a genuine farce, drawing inspiration from various sources like Feydeau, soap operas, and middlebrow adultery comedies. However, these influences never quite blend into a cohesive and satisfying whole.
Despite its efforts, “The Cottage” fails to reach the comedic heights it aspires to. The mix of squibs and fizzles leaves the audience yearning for more substance and true farcical magic. While the cast does their best with the material at hand, the script’s limitations and the production’s wavering genre discipline hold them back from fully delivering the hilarity one would expect from a classic farce.
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