Middle of the Night **

It has been 60 years since Paddy Chayefsky's tale of a romance between a 56-year-old Jewish garment manufacturer and his pretty 24-year-old Gentile receptionist first appeared as a television drama starring E.G. Marshall and Eva Marie Saint. Two years later came the Broadway version with Edward G. Robinson and Gena Rowlands. 1959 brought the film with Frederic March and Kim Novak. Now the Keen Company's artistic director, Jonathan Silverstein, has revived the play. I was curious to see how well it has withstood the ravages of time and how well the current leads measure up to their illustrious predecessors. My answer to both questions is "not very well." In the age of Viagra, it is hard to relate to the idea that a man's life is as good as over at 56. The play's impact is also undercut by a shoestring production with three actors playing dual roles and a set (by Steven C. Kemp) that is forced to represent both the apartment of an affluent manufacturer and that of a lower middle class family. Since class difference is almost as important an issue as age difference, this double use of the set undercuts the heart of the play. Jonathan Hadary is respectable as the manufacturer, but Nicole Lowrence plays the girl as so needy that she was painful to watch. I'm not sure whether the problem is the actress or Silverstein's direction. I have seen enough of his work by now to conclude that he is better at selecting plays than at directing them. The level of the other actors varied widely. Chayefsky's writing also veers wildly between the theatrically adept and the clunky. His basic sympathy for his characters is admirable though. This material seemed to work better on television and film than on the stage. Running time: 2 hours 10 minutes, including intermission.

The Film Society **

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When first produced, this play put the then 25-year-old Jon Robin Baitz firmly on the list of promising young American playwrights. Now, roughly 25 years later, the Keen Company has revived it. The setting is Blenheim School for Boys in Durban, South Africa in 1970, a prep school that has passed its prime. Its facilities are crumbling and its senior staff are plagued by such illnesses as spinal cancer and vision problems. A metaphor for the British Empire perhaps, or white rule under apartheid? The central character is the slightly effete Jonathon Balton (Euan Morton), who graduated from and now teaches at Blenheim and is faculty sponsor of weekly film screenings for the boys. Jonathon's closest friends since childhood as well as faculty colleagues are Terry Sinclair (David Barlow) and his wife Nan (Mandy Siegfried). When Terry invites a black speaker to a school event, he precipitates a crisis that puts his and his wife's careers in jeopardy. Other characters include headmaster Neville Sutter (Gerry Bamman), reactionary faculty member Hamish Fox (Richmond Hoxie) and Jonathon's manipulative mother (Roberta Maxwell), who uses her pursestrings to advance her son's career. Jonathon is reluctantly pushed into the spotlight where his mettle is put to the test. He has a long, dramatic monologue near play's end that, to me, did not ring true. The three actors playing the younger generation of teachers did not seem fully up to the task, particularly Siegfried, who seemed a bit wooden. The fact that Jonathan Silverstein's direction leaves her standing like a tree throughout a few speeches did not help. Steven C. Kemp's efficient tripartite set is complemented by a symbolic backdrop of African textile designs peeking through a flaking Union Jack. Jennifer Paar's costumes seemed appropriate. It was good to get a look at Baitz's early work, even in this less than ideal production. Running time: 2 hours, 20 minutes including intermission.

The Old Boy ***

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The Keen Company's revival of A.R. Gurney's 1991 play proves once again that no other playwright does the world of WASPs as well as he. Sam (Peter Rini), a politician and diplomat who is considering a run for governor, has returned to his prestigious boarding school to give the commencement speech against the advice of his political aide Bud (Cary Donaldson). Dexter (Tom Riis Farrell), the Anglican clergyman who is second in command at the school, also asks Sam to announce the donation of an indoor tennis court by Harriet (the wonderful Laura Esterman) in memory of her son Perry (Chris Dwan), for whom Sam acted as old boy (mentor) during his first year. Perry's widow Alison (Marsha Dietlein Bennett). whom Sam had dated before Perry, is there for the occasion. The ever-cautious Bud has Perry's demise investigated and reveals to Sam that he died of AIDS. There are several flashbacks to Sam and Perry's years at school, during which Rini and Esterman continue to play their respective characters. Sam's speech at commencement is the play's climax. The play is topical and some of the action seems more driven by political correctness than dramatic impulse. Nevertheless, the characters are well-delineated and the dialogue is sharp. Even second-drawer Gurney is better than most people's top drawer. Rini looks a little too Mediterranean to be plausible as a WASP, but he captures Sam's callow charm. The rest of the cast is fine too. Jonathan Silverstein's direction is unobtrusive. Jennifer Paar's costumes are very good. The wide set by Stephen C. Kemp looked a bit underfurnished. Running time: 75 minutes; no intermission.

Marry Me a Little **

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If you are an avid Sondheim fan (and I am not), you will no doubt enjoy the Keen Company's revival of this two-person show conceived and developed by Craig Lucas and Norman René.  Two neighbors in a Brooklyn apartment building (Jason Tam and Lauren Molina), alone on a Saturday night, sing 19 songs, almost all numbers cut from Sondheim musicals. They also dance a little and Molina plays the cello a bit. That's basically it for 63 minutes. There were a handful of songs I liked, but for me most of them made the case for why they were cut in the first place. Both performers are personable, but not that strong vocally. From the third row, I had trouble hearing some of the lyrics. John Bell is the fine pianist.  Dan Knechtges choreographed. Jonathan Silverstein directed.

Painting Churches ***

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It is a rare opportunity to see two such fine actors as Kathleen Chalfant and John Cunningham on a New York stage. For me that is reason enough to catch the Keen Company's revival of Tina Howe's 1976 play. In it we meet the Churches -- Gardner (Cunningham), a prize-winning poet now sinking into senility and his wife Fanny (Chalfant), whose constricted life now revolves around caring for her husband. Straitened circumstances have forced them to sell their Beacon Hill townhouse to move to their cottage on Cape Cod. Their daughter Mags (Kate Turnbull), an instructor at Pratt, who has just been promised a solo show at Castelli Gallery, returns to Boston for a rare visit, allegedly to help them pack, but really to paint their portrait. Fanny is a fascinating mixture of imperiousness, cruelty, tenderness, compassion, depression and bravery, all memorably captured by Chalfant's performance. She has a powerful monologue that is the high point of the play. Cunningham lets us see the patrician he was through the impaired man he has become. They vividly convey the togetherness gradually acquired over many years. Unfortunately, their strengths accentuate Turnbull's inadequate performance as Mags. She is far too strident and lacks nuance, which upsets the play's balance. Despite any flaws, the performances by Chalfant and Cunningham provide strong incentive to attend. Beowulf Boritt's set cleverly suggests the outlines of a Beacon Hill living room. Carl Forsman directed. Running time: 2 hours, including intermission.

Lemon Sky ***

The Keen Company has revived this 1970 memory play by Lanford Wilson, a playwright whose role in American theater seemed assured, but whose work has lately fallen into neglect. While not one of Wilson's best efforts, it still makes an intermittently strong impression. It is an autobiographical work about the six months that the 17-year-old Wilson (here called Alan and played by the excellent Keith Nobbs) spent in southern California with his estranged father and his second family. The household consists of Douglas (a fine Kevin Kilner), his second wife Ronnie (a terrific Kellie Overbey), their two young sons Jerry (Logan Riley Bruner) and Jack (Zachary Mackiewicz), and two teenaged foster children, sexpot Carol (Alyssa May Gold) and studious but plain Penny (Annie Tedesco). The play makes heavy use of narration, repetition, addressing the audience, commenting on the action or lack thereof, and prefiguring future events, techniques that must have seemed more daring in 1970. The play sags a bit in the middle, but the simmering tensions explode in a final scene that grabs your attention and doesn't let go. Jonathan Silverman's directed. Bill Clarke's recreation of a 1950's California house made the best of the Clurman Theater's awkwardly wide but shallow stage and Jennifer Paer's costumes perfectly evoked the time and place.

Running time: 2 hours, 20 minutes including intermission.

Alphabetical Order **

Michael Frayn's versatility amazes me. Anyone who could write both Noises Off and Copenhagen is a playwright to be reckoned with. Besides being a playwright, Frayn is a successful translator (of Chekhov's plays) and a gifted novelist. His Headlong, a send-up of art collectors, is one of the funniest novels I have ever read. I was therefore quite keen to see Keen Company's revival of his 1977 play Alphabetical Order. This time out, his subject is the foibles of seven employees of a failing provincial newspaper. The set, a monumentally cluttered newspaper library, effectively mirrors the characters' chaotic lives. Unfortunately, I didn't find the characters all that interesting: some were one-dimensional and others were fuzzily motivated. The play builds to frenetic farce in each of its two acts, but doesn't come near the inspired madness of Noises Off. There is an undercurrent of sadness about aging and obsolescence that contrasts with the workplace highjinks. The acting was a bit broad for my taste. Some of the British references do not travel well. Nevertheless, it was interesting to see an example of Frayn's early work.