Time of My Life

The philosophic notion floated at the end of Time of My Life - that as bad as it is, this may be as good as it gets (and we don't know it yet) - is perhaps the only serious and reflective moment in Alan Ayckbourn's hilarious play now running at the Pittsburgh Public Theater to 5/16.

Perhaps not as well known on this side of the pond, the playwright, at 74 productions and counting, exceeds the output of the Bard, GBS, and (okay), Neil Simon. In this revival of the 1992 show, his signature talents are all in evidence: antic, self-absorbed characters and absurd situations, served up with generous dollops of farce, class conflict, and language games.

Director John Tillinger's intelligent production reveals a great sense of visual and comic timing - it has wonderful energy and flow. And the heavyweight cast lives up to its advance billing, serving up all the goodies.

The Brits have long had a fascination with alternative time shifts in their narrative structure. Two exemplary practitioners, Tom Stoppard (Arcadia) and the late Harold Pinter (Betrayal), have examined the human condition through simultaneous worlds and life told backwards, respectively. Mr. Ayckbourn's tact in the play is to look at the ramifications of life going forward and seen in reverse for two of the couples, while laying bare the foibles on the central characters in time present or suspended as it were.

The Stratton clan has gathered for the 58^th birthday party of matriarch Laura, played with waspish delight by Ann McDonough and matched superbly by Paxton Whitehead, her theatrical partner in crime Gerry, portrayed as the model of tolerance and incomprehension. The dramatic conflict is set off in this fractious first scene with the arrival of an outsider Maureen (Sarah Manton) who is engaged to younger son Adam (Jeffrey Withers) and is sustained by the reunion of recently estranged Glyn and his much neglected wife Stephanie (Leah Curney). This is the high watermark for the Strattons; their precarious family setting will be undone by a sudden death. This bibulous bash will be a last call.

The two successful parents have all but stifled their children's professional and emotional development. Laura, whose maternal instincts lie on a continuum with Lady Macbeth and Medea, is an unrelenting, natural force. But Gerry's game is subtler, juggling both his family and business lives to keep them all subserviently in their places. It's no coincidence that both brothers seek out partners who are total opposites from their parents - the improvident Glyn with the needy Stephanie and the forever young Adam with brassy bird Maureen. But looked at in another light, maybe both brothers married different sides of the same progenitor- their mom!

Set in an enchanted, nondescript ethnic restaurant from anywhere in the Mediterranean and staffed by a Merlinesque owner and cadre of waiters played with happy abandon by Tom Beckett, in at least four distinct types of body carriage, this show happily suspends all unities of time, place, and action.

Set design by James Noone is a Fauvist confection which is appealingly lighted by Rui Rita. Together with the up-tempo sound of Zach Moore and inventive costuming (particularly Ms. Manton's) of Laurie Churba Kohn, the design team effectively transitions the scenes in time and characters in development.

The performances were all top notch - it's a testimony to the generosity of stars of Mr. Whitehead's and Ms. McDonough's stature that they allowed their colleagues to shine. Particularly notable were Ms. Manton's zany portrayal of Maureen as she adjusted her personality, wardrobe, and hairstyle for what she believed would best please. And the accommodating Mr. Beckett - A Servant of Many Masters - as a character actor, he was positively a contortionist.

I thought the dinner table cacophony at the opening - the multiple conversations serving as an example of miscommunication - though well intentioned, came at the loss of some relevant dialogue for back story and characterization. Also, the first meeting (in Act II) between Maureen and Adam went on a bit too long; it seemed a case of a skit taking over a scene. And I would consider using audiovisuals to point out the time shifts with the young couples; you may find it confusing the first time through. Skip over these minor blips or take a look at a script provided at nominal cost by the theater to clarify any points in meaning and savor again the wonderfully inventive world of Sir Alan Ayckbourn. Benzay Appertass!

If you miss an opportunity to catch this show, closing Sunday May 16^th, PPT has an upcoming production of the Tony Award winning play Art, by Yasmina Reza, running from May 27- June 27. Check out www.ppt.org for dates and times.

Sound check: Excellent

Program notes: Outstanding. Margie Romero's articles in the program and newsletter will get you going dramaturgically as will Artistic Director Ted Pappas' intro. Or if your palette is the Royal Road to your intelligence, try a special concoction at the bar, especially designed for the play

Applause meter: Highly recommended, 3 ½ hands plus. Positive audience buzz, during, between, and after the show

Runtime: About 2 ½ hours with an intermission