What I Did Last Summer **

For the second revival in their A.R. Gurney residency, Signature Theatre has chosen this semi-autobiographical memory play from 1981. Charlie (Noah Galvin), the 14-year-old Gurney stand-in, recalls the Summer of 1945 when his father was away at war in the Pacific and his mother Grace (Carolyn McKormick) was trying valiantly to hold their WASP family together in his absence. Charlie, his mother and his older sister Elsie (Kate McGonigle) are spending the summer at their vacation home on the Canadian side of Lake Erie not far from Buffalo. Charlie and Ted (Pico Alexander), a townie two years his senior, both like to spend time with Bonny (Juliet Brett), a girl near their age but much wiser. The rebellious Charlie answers a “Help Wanted” ad placed by the local outcast Anna Trumbull (Kristine Nielsen). A free spirit, she has abandoned her WASP upbringing to live a hermit-like existence on the lakeside property left her by her former lover. She claims to see artistic potential in Charlie and gives him art lessons after his chores are done. He shows no aptitude for painting, sculpture, macrame or anything else she tries to teach him. She also fills his head with anti-establishment socialistic ideas. After one argument too many with his mother, Charlie flees home and moves into Anna’s barn. There is a battle for Charlie’s soul between Anna and Grace who, it turns out, had her own experiences with Anna 20 years prior. Clumsy plot devices intrude and the ending is less than satisfactory. Director Jim Simpson has chosen to introduce a drummer (Dan Weiner) to punctuate the action, a needless distraction. Michael Yeargan’s minimalist set is enhanced by John Narun’s projections of typed characters filling the back wall with stage directions. Claudia Brown's costumes are attractive and appropriate. All the characters save one address the audience to ponder whether the play is really about them. Despite the fine cast (although I found Galvin a bit too hyperactive) and a snazzy production, the play simply did not engage me. So far, the Gurney residency has been underwhelming. “The Wayside Motor Inn” showed him in his Ayckbourn mode and this play has echoes of Wilder. Let’s hope that next season’s Gurney premiere will salvage the residency and display more of the characteristics that made me a Gurney fan. Running time: two hours including intermission.

I See You ***

I found much to admire in this new romantic comedy at the Flea Theater by Kate Robin, a writer on “Six Feet Under” and Showtime’s “The Affair.” The two characters are recognizable New York types. Nina (Danielle Slavick), a motor-mouthed neurotic obsessed with irreversible environmental degradation, would be a royal pain if she were not also a charmer. Jesse (Stephen Barker Turner), a laid-off teacher and stay-at-home dad, is a much calmer person who usually finds the bright side of any situation. They meet while watching their children play at the Children’s Museum. Opposites attract. We next see them in the waiting room of an I.C.U. (cf. the title), then at a New Age center in lower Manhattan when a Sandy-like storm hits, and later at the light show at the Children’s Museum. They are both changed for having met the other, but the durability of their relationship is an open question. The dialogue often sparkles and the actors are both appealing. By Flea standards, the production is lavish. The set design by Kyle Chepulis features a large turntable (which frankly seemed unnecessary) and the lighting design by Brian Aldous includes a brief light show worthy of a low-budget production of “The Curious Incident of the Dog in the Night-TIme.” Claudia Brown’s costumes are appropriate. There's also some high-powered piano playing by Or Matias. Jim Simpson’s direction is assured. Some might find the play too talky and tentative, but I found it offbeat and satisfying. Running time: 90 minutes, no intermission.

The Vandal ***

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Actor Hamish Linklater's (School for Lies, Seminar) debut effort as a playwright is now at The Flea Theater. Deirdre O'Connell (Circle Mirror Transformation, In the Wake) plays a withdrawn woman waiting for a bus at a stop in Kingston, NY near a hospital and a cemetery. Noah Robbins (The Twenty-Seventh Man) portrays a loquacious, philosophical 17-year old boy who pesters her until she agrees to buy him beer at a nearby liquor store. The somewhat menacing man who owns the liquor store, played by Zach Grenier (33 Variations, The Good Wife), claims to be the boy's father. In each of four scenes in which the characters exchange self-protective lies, the woman appears with either the boy or the man. There is a big reveal near the end that changes your understanding of all that has preceded. The actors are all top-notch and the dialog flows effortlessly. Clearly Linklater has a love of words and a talent for giving actors a chance to shine. A lengthy monologue in praise of Cool Ranch Doritos may not sound enticing, but it drew applause. The set by David M. Barber is modest, but efficient. Claudia Brown's costumes are fine. Jim Simpson's direction is smooth. The play seems a bit slight and the ending a bit flat. Nevertheless, Linklater shows a lot of promise and I look forward to seeing his next effort. Running time: 75 minutes.

Heresy *

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Even as capable a playwright as A.R. Gurney can miss the mark occasionally, as he has with this lame parody at The Flea. It may have seemed a clever idea to transpose New Testament figures into a dystopian America of the near future, but it doesn't work for me. Joseph (Steve Mellor) and Mary (Annette O'Toole) have come to see Pontius (Reg E. Cathey), the prefect of the New American National Guard to plead for their son Chris, who has been arrested in the most recent in a long series of crackdowns. They are soon joined by Phyllis (Kathy Najimy), Pontius's ditsy wife; Pedro (Danny Rivera), the college roommate who betrayed Chris; and Lena -- short for Magdalena -- (Ariel Woodiwiss), a sex worker who has fallen for Chris. The proceedings are being transcribed by Pontius's aide Mark (Tommy Crawford), who has a way with words. Get the picture? It is always fun to see Najimy in action. Cathey gets a few laughs too, but most of the proceedings are leaden and lack bite. The play seemed far longer than its 85 minutes. Kate Foster's set makes a convincing meeting room for high government officials. Claudia Brown's costumes are amusing. The play was directed by Jim Simpson, The Flea's founder and artistic director.

Future Anxiety **

Lauren Haines' satire at The Flea imagines a grim future in which environmental depredation has taken its toll and 12 billion people are competing for ever-diminishing resources. The Chinese import American debtors as slave labor. A woman who "collects" people for deportation to China is too ashamed to admit her occupation to her friends. People who chose cryogenics return to a world far worse than the one they left and must undergo two years of reorientation as wards of the state. A rapacious businessman scours the world for traces of vanished plant species. A poet softens the heart of a stern Chinese guard. A homeless man gives survival tips. A possibly crazed leader recruits followers to build a spaceship to travel to a new planet where they can start over -- and destroy a new environment. The various plot lines alternate in short scenes. 23 members of the Bats, the Flea's talented resident company of young actors, form the cast. The results are uneven and the whole is somehow less than its parts. The direction by Jim Simpson is fluid and the set by Kyle Chepulis makes good use of a small budget. The highlight for me actually took place before the play even started -- there is 15 minutes of weird vocalization by an uncredited male that is hysterically funny. Running time: 80 minutes.

P.S. Alas, there were more people in the cast than in the audience.