Downstairs

C-

First the good news: this latest offering by Primary Stages offers the opportunity to see Tyne Daly (Gypsy, Master Class, “Cagney and Lacey”) and her brother Tim (Coastal Disturbances, “Madame Secretary”) together onstage for the first time in New York, both playing roles that cast them against type. Tim, usually a suave charmer, plays Teddy, a middle-aged man with a fragile grip on reality that may be the result of paranoia. Tyne, usually the smart, strong woman, plays Irene, a timid, depressive housewife who lives in fear of her horrible husband Gerry (John Procaccino; Our Mother’s Brief Affair, Nikolai and the Others). The bad news is that the play is by Theresa Rebeck (Bernhardt/Hamlet, Poor Behavior), a playwright whose ability to get her work produced no matter how many disappointing plays she writes never fails to amaze me. Add another disappointment to the list. Despite a interesting premise — Teddy is temporarily occupying a beat-up couch in Irene’s basement against the wishes of her tyrannical husband — the play mostly spins its wheels and dissipates what little tension it builds up well before it finally ends. If there was any point to it, it was lost on me. Despite fine performances by all three actors, I found myself losing interest and patience early on. The slack direction by Adrienne Campbell-Holt (Thirst, Zürich) didn't help either. I did like Narelle Sissons’s (All My Sons, In the Blood) meticulously detailed, dingy, unfinished basement set and Sarah Laux's (The Band's Visit, The Humans) evocative costumes. I admire the Dalys for trying something different, but wish it had turned out better. Running time: one hour 45 minutes, no intermission.

The Ruins of Civilization ***

For its final play of the season, Manhattan Theatre Club is presenting the world premiere of an unsettling drama by award-winning British playwright Penelope Skinner (The Village Bike). The play is set in a dystopian England of the future where the government tightly regulates most aspects of life and empathy is in short supply. Silver (Tim Daly) is an anal-retentive writer who has been doing research on a novel for nine years. His sensitive wife Dolores (Rachael Holmes) has been troubled by things they have just seen on a trip to an island that is about to vanish due to climate change. Joy (Orlagh Cassidy) is the government functionary who visits the couple periodically to check on Dolores. Apparently the couple’s stipend has been temporarily trimmed until Dolores gets over having thoughts that are against government policy. Without consulting her husband, Dolores invites Mara (Roxanna Hope), an immigrant from the doomed island, to occupy their spare room. Complications ensue. Through seemingly offhand remarks, Skinner builds a chilling picture of a society that is plausible enough to make one uncomfortable. The actors were fine except for an occasional stumble over accents. Neil Patel’s attractive set has subtle hints of futurity and Jessica Pabst’s costumes, particularly the jackets and shoes for Silver, are stylishly modern. Some aspects of the plot do not stand up to close examination, the emotional temperature could use a boost and the first act could use a trim. Nevertheless, the play held my interest and raised issues that merit our attention. Leah C. Gardiner directed. Running time: 2 hours, 5 minutes, including intermission.

NOTE: The three most interesting plays of the MTC season were all by foreign playwrights (Florian Zeller, Nick Payne and Penelope Skinner). Three others were by MTC old timers — Richard Greenberg, David Lindsay-Abaire and John Patrick Shanley. Add in a mediocre revival (Fool for Love) and an absolutely ghastly new play (Important Hats of the Twentieth Century). Can MTC do better? Hope springs eternal.