Judy Richter

Mistaken identities, chases and a closet for hiding all contribute to the laughs in “See How They Run,” a 1940s British farce presented by Hillbarn Theatre  in Foster City.

Playwright Philip King set the play (later made into a movie) in the vicarage of the fictional village of Merton-cum-Middlewick. The action takes place over the course of one afternoon and evening, starting with the arrival of the village gossip, Miss Skillon (Helen Laroche), who’s complaining to the Rev. Lionel Toop (Taylor J. Smith) about the conduct of his wife, former actress Penelope Toop (Maureen O’Neill). In short order, Penelope herself appears, as does the couple’s Cockney maid, Ida (Lauren Rhodes).

After her husband leaves for the evening, Penelope receives an unexpected visitor, Cpl. Clive Winton (Adam Magill), an American soldier stationed nearby. The two are old friends, having appeared together in a long-running production of “Private Lives.”

They decide to go see a performance of the Noel Coward play at a nearby village, but Clive can’t be seen there in his uniform. Therefore, he changes into one of Lionel’s suits, complete with clerical collar.

By the time the play ends, there are four men in clerical garb, including Clive, Lionel, the visiting Rev. Arthur Humphrey (Scott Solomon), and an escaped Russian spy (Dominic J. Falletti). Trying to restore order are Penelope’s uncle, the Bishop of Lax (Scott Stanley), and a police officer, Sgt. Towers (Robert James Fairless).

There’s far more reason for hilarity and confusion what with Miss Skillon getting drunk on cooking sherry and Lionel running around in his underwear, but suffice it to say that all gets sorted out at the end.

Ron Lopez Jr. has assembled a talented group of actors who create believable characters while going through their paces with sharp comic timing. This latter quality is especially notable since the reviewed performance was the preview, which usually is the last best chance for the cast and crew to make sure everything’s running smoothly.

The only problem during this performance was that some of the actors, including Magill as Clive and Smith as Lionel became too shrill. Since the director was in the audience taking notes for the cast, one assumes this problem will work itself out in subsequent outings.

The handsome set is by Robert Broadfoot, who also did the lighting. The period costumes are by Shannon Maxham with sound by Valerie Clear. Greg Sudmeier composed some of the music.

Nevertheless, the show was most enjoyable with lots of laughs. Even though it’s three acts with two 10-minute intermissions, the show clocked in at a crisp 135 minutes.

“See How They” run continues at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City, through Feb. 10. For tickets and information, call (650) 349-6411, or visit www.hillbarntheatre.org.

It’s 3 a.m. when a 21-year-old man arrives at his 91-year-old grandmother’sGreenwich Villageapartment. The incessant buzzer finally awakens her, and she opens the door to him and his heavily laden bicycle. He has just completed a cross country bicycle trip and hopes to stay for a day or two. Thus begins Amy Herzog’s award-winning 2011 play, “4000 Miles,” presented by American Conservatory Theater.

Often funny, this work looks at how ecoconscious Leo Joseph-Connell (Reggie Gowland), a bit of a New Ager, interacts with the feisty Vera Joseph (Susan Blommaert), who takes pride in having been a communist. Now, though, politics are less important than personal interactions.

When he arrives, the easy-going Leo is self-absorbed, mostly oblivious to how his actions have affected some of the people closest to him. In short, he’s a jerk.

Vera has lived alone since her husband’s death 10 years ago. She manages fairly well even though age is catching up with her. She wears dentures; she needs hearing aids; and she has a stooped walk, probably because of arthritis and/or osteoporosis. Most frustrating to her, though, is that it’s hard for her to find words she wants to use.

The only other characters are Bec (Julia Lawler), Leo’s girlfriend who’s breaking up with him; and Amanda (Camille Mana), a Chinese American woman he picks up one night probably for a fling, but that episode ends on a negative note. There are several unseen characters, though, including Leo’s adoptive sister, Lily, who’s also Chinese American; Micah, his best friend, who died on the bicycle trip; and Leo’s mother, from whom he’s estranged.

During the course of the one-act play, which runs about an hour and a half, Leo starts to confront his grief over Micah’s death. He also becomes more considerate of others’ feelings and realizes he needs to patch up relations with his immediate family inMinnesota. He’s finally beginning to grow up.

However, his departure leaves one wondering how Vera will manage. She’ll be OK for a while, but she has lost most of her immediate support system, and she’s becoming more fragile.

Director Mark Rucker and his capable cast make each character believable and the action natural. Blommaert as Vera ages herself 26 years from her true age of 65 through her demeanor and actions. It’s an impressive transformation.

Erik Flatmo has created the comfy apartment (lighted by Alexander V. Nichols) with, among other details, its shelves of books and a variety of art on the walls. The character-defining costumes are by Alex Jaeger with sound by Will McCandless.

Because so much information is revealed through conversation rather than action, one must listen carefully to learn more about the seen and unseen characters as well as a lot of background. Some of this was lost on opening night because the actors didn’t always pause long enough to allow laughter to subside after amusing lines.

Otherwise, this is a thought-provoking play by an up-and-coming playwright who based parts of it on her own family.

“4000 Miles” will continue through Feb. 10 at ACT’s Geary Theater, San Francisco. For tickets and information, call (415) 749-2228 or visit www.act-sf.org.

“We are a family of dreamers,” says the matriarch of a Puerto Rican immigrant family in “Somewhere,” the Matthew Lopez drama presented by TheatreWorks in its regional premiere. For the Candelaria family, the dreams revolve around show business, but reality keeps them in a tenement apartment onWest 66th StreetinNew York Cityin the summer of 1959.

Still, everyone tries. The steely matriarch, Inez (Priscilla Lopez), does sewing for neighbors and works two jobs, including ushering at the Broadway theater where “West Side Story” is playing. Daughter Rebecca (Michelle Cabinian) also ushers and takes dance lessons. Son Francisco (Eddie Gutierrez) takes acting lessons. Son Alejandro (Michael Rosen) played one of the children in “The King and I” on Broadway, but now a burdensome secret has led him to abandon his dream and work 80 hours a week to help support the family. The long-absent family patriarch is inCubaworking as an entertainer.

Two catalysts set the plot in motion. The first is that choreographer Jerome Robbins is in town to film the dance prologue to the movie version of “West Side Story.” Inez and Jamie MacRea (Leo Ash Evens), a longtime family friend and an assistant to Robbins, urge Alejandro to try out.

The second is that the family must move in 30 days because their neighborhood is being razed to make way for theLincolnCenterfor the Performing Arts, but Inez refuses to go. She fears her husband won’t know where to find them. The end of Act 1 is fraught with peril as the three kids frantically pack while a wrecking ball whacks away at their building.

While the first act has some slow spots, especially in the middle, the second act is stronger as the family is settled in a larger, nicer apartment in aBrooklynhousing project a year later. By then, Inez is ushering for “Gypsy,” whose central character, Mama Rose, shares many of Inez’s characteristics. However, Act 2 ends anticlimactically after an Alejandro dance scene that might have worked better as the ending.

Because the play has several dance scenes well choreographed by Greg Graham, director Giovanna Sardelli needed a cast of skilled actors who also dance. She found them in this five-person ensemble, and she guides them well.

Scenic designer Andrea Bechert masters the challenge of changing the set from the Act 1 cramped brownstone apartment — complete with fire escape and laundry hanging outside — to the more spacious yet basic apartment of Act 2. Lighting by Steven B. Mannshardt and costumes by Cathleen Edwards serve the play well. Jeremy J. Lee’s sound design features music from the times as well as snatches of news broadcasts that give a sense of what’s happening outside the apartment.

Adding to the family feeling in “Somewhere,” playwright Lopez is the nephew of actress Lopez, who made such a powerful impression as Diana Morales in the original production of “A Chorus Line.” Candelaria was her mother’s maiden name, and in a sly aside, the family living downstairs in the play is named Lopez.

“Somewhere” had its premiere atSan Diego’s Old Globe Theatre in 2011. Besides being restaged from in-the-round to a proscenium, it was rewritten. Despite whatever changes may have been made, it still needs more work. Nevertheless, it’s worth seeing, especially for the dancing and acting.”

It continues at the Mountain ViewCenterfor the Performing Arts through Feb. 10. For tickets and information, call (650) 463-1960 or visit www.theatreworks.org.

“We are a family of dreamers,” says the matriarch of a Puerto Rican immigrant family in “Somewhere,” the Matthew Lopez drama presented by TheatreWorks in its regional premiere. For the Candelaria family, the dreams revolve around show business, but reality keeps them in a tenement apartment onWest 66th StreetinNew York Cityin the summer of 1959.

Still, everyone tries. The steely matriarch, Inez (Priscilla Lopez), does sewing for neighbors and works two jobs, including ushering at the Broadway theater where “West Side Story” is playing. Daughter Rebecca (Michelle Cabinian) also ushers and takes dance lessons. Son Francisco (Eddie Gutierrez) takes acting lessons. Son Alejandro (Michael Rosen) played one of the children in “The King and I” on Broadway, but now a burdensome secret has led him to abandon his dream and work 80 hours a week to help support the family. The long-absent family patriarch is inCubaworking as an entertainer.

Two catalysts set the plot in motion. The first is that choreographer Jerome Robbins is in town to film the dance prologue to the movie version of “West Side Story.” Inez and Jamie MacRea (Leo Ash Evens), a longtime family friend and an assistant to Robbins, urge Alejandro to try out.

The second is that the family must move in 30 days because their neighborhood is being razed to make way for theLincolnCenterfor the Performing Arts, but Inez refuses to go. She fears her husband won’t know where to find them. The end of Act 1 is fraught with peril as the three kids frantically pack while a wrecking ball whacks away at their building.

While the first act has some slow spots, especially in the middle, the second act is stronger as the family is settled in a larger, nicer apartment in aBrooklynhousing project a year later. By then, Inez is ushering for “Gypsy,” whose central character, Mama Rose, shares many of Inez’s characteristics. However, Act 2 ends anticlimactically after an Alejandro dance scene that might have worked better as the ending.

Because the play has several dance scenes well choreographed by Greg Graham, director Giovanna Sardelli needed a cast of skilled actors who also dance. She found them in this five-person ensemble, and she guides them well.

Scenic designer Andrea Bechert masters the challenge of changing the set from the Act 1 cramped brownstone apartment — complete with fire escape and laundry hanging outside — to the more spacious yet basic apartment of Act 2. Lighting by Steven B. Mannshardt and costumes by Cathleen Edwards serve the play well. Jeremy J. Lee’s sound design features music from the times as well as snatches of news broadcasts that give a sense of what’s happening outside the apartment.

Adding to the family feeling in “Somewhere,” playwright Lopez is the nephew of actress Lopez, who made such a powerful impression as Diana Morales in the original production of “A Chorus Line.” Candelaria was her mother’s maiden name, and in a sly aside, the family living downstairs in the play is named Lopez.

“Somewhere” had its premiere atSan Diego’s Old Globe Theatre in 2011. Besides being restaged from in-the-round to a proscenium, it was rewritten. Despite whatever changes may have been made, it still needs more work. Nevertheless, it’s worth seeing, especially for the dancing and acting.”

It continues at the Mountain ViewCenterfor the Performing Arts through Feb. 10. For tickets and information, call (650) 463-1960 or visit www.theatreworks.org.

Mom’s mental illness pervades “Nearly Normal”

     Mental illness hardly seems like a topic for musical theater, but it is in “Next to Normal,” and it’s quite affecting in the San Jose Repertory Theatre production co-produced by the Arizona Theatre Company.
     Although mental illness may afflict only one member of a family, it affects everyone else in the family. That’s the situation with Diana (Kendra Kassebaum), who has been dealing with bipolar disorder for some 16 years.
     Her loving, loyal husband, Dan (Joe Cassidy), has tried to help her in every way he can, taking her to doctor after doctor in hopes of at least stabilizing her.
     Their teenage daughter, Natalie (Andrea Ross), tries to get more than just cursory attention from her parents by being a perfectionist at school and in her classical piano-playing. Consequently, she’s stressed out.
     The family’s fourth member is son Gabe (Jonathan Shew), a constant presence in Diana’s life and a probable catalyst for her illness.
     In a stinging rebuke at some in the psychiatric profession, Dr. Fine (Mark Farrell), treats her with an array of drugs, all with unpleasant side effects but no psychological relief. She next sees Dr. Madden (Farrell again), who tries more conservative approaches like talk therapy and hypnotism before resorting to a more drastic series of electroconvulsive therapy sessions.
     In the meantime, Natalie acquires a boyfriend, Henry (A.J. Holmes), a genial stoner whose efforts to help her relax backfire as she raids her mother’s medicine cabinet. Ironically, Henry becomes a stable presence in her life. Their relationship is a kind of parallel to that between her parents. In their case, however, Dan’s unwavering love and support might keep Diana from becoming more independent.
     The conclusion is surprising and somewhat encouraging even though a happy ending is far from certain.
The book by Brian Yorkey, who also wrote the lyrics, is so strong that it could almost stand on its own. No doubt it played a major role in the show’s winning the 2010 Pulitzer Prize for Drama, along with three Tonys. Tom Kitt’s rock-flavored music is pleasant, serving mainly to allow the characters to express their emotions.
     The two-level set by John Ezell depicts the family’s home, but a few quick changes of furniture transform it into places like the doctors’ offices. Above it, what would be the sky appears to be cracked glass, indicating that all is not well beneath the roof.
     The six-person band, led by musical director Dolores Duran-Cefalu at the piano, sits upstage behind a scrim. The costumes are by Kish Finnegan, while the lighting and projections are by David Lee Cuthbert. The sound (too loud) is by Steve Schoenbeck.
     Director David Ira Goldstein, who also did the musical staging, keeps the action flowing smoothly and logically in this two-act work. He also has an excellent cast of singer-actors. The only caveat is that Kassebaum’s diction makes Diana’s lyrics hard to understand at times. Otherwise, she skillfully projects Diana’s vulnerability, anxiety and unpredictability. The others also make their characters believable and sympathetic.
     “Next to Normal” tackles a tough but important subject in an intelligent, adult manner, making for memorable theater.
     It continues at San Jose Repertory Theatre, 101 Paseo de San Antonio, through Feb. 3. For tickets and information, call (408) 367-7255 or go to www.sjrep.com.

By Judy Richter

Mark Twain’s “The Adventures of Huckleberry Finn” is considered one of the greatest novels in American literature. Its musical version, “Big River,” with the novel’s name as its subtitle, doesn’t reach an equivalent pinnacle, but it has its virtues.

They become apparent in the TheatreWorks production directed by artistic director-founder Robert Kelley. For one, the excellent cast produces some fine renditions of the music and lyrics by Roger Miller, who has created a score rife with country, blues and spirituals. For another, the cast has fun with some of the situations in the book by William Hauptman, who adapted his script from Twain’s novel.

Best of all, there’s James Monroe Iglehart, who plays Jim, a runaway slave who shares Huck’s adventures as their raft drifts down the Mississippi River from the fictional town of St. Petersburg, Mo. A fine singer, Iglehart is just back from three years in the Broadway production of “Memphis,” in which he continued to play the roleof Bobby, which he had originated in the world premiere at TheatreWorks. The imposing Iglehart imbues Jim with a dignity and integrity that surpass any other character in the show.

Therefore, the decision by Huck (Alex Goley ) to help him elude capture becomes both believable and inevitable even though Huck understands that in doing so, he’s breaking the law. After all, the action takes place in the early 1840s, when slavery was legal in many states and when slaves were regarded more as property than as human beings.

This theme comes through despite the shenanigans of other characters like Tom Sawyer (Scott Reardon), a decent fellow who nevertheless makes everything too complicated in the name of adventure. The script also spends too much time on two flimflam men, the King (Martin Rojas Dietrich) and the Duke (Jackson Davis), despite the comedic talents of both actors. Except for Iglehart and Goley, nearly everyone else in the large cast plays multiple characters.

While Jim is trying to reach a non-slave state and earn enough money to free his wife and children, from whom he has been separated for several years, Huck is trying to escape his drunken, murderous father, Pap (Gary S. Martinez). The two set off on a raft, drifting by night and sleeping in secluded spots during the day. In one of the more touching scenes, they spot a boat loaded with recaptured slaves, who sing “The Crossing,” a sad spiritual.

Music director William Liberatore conducts the singers and the six-member orchestra from the keyboard. The uncluttered set, featuring a backdrop of a winding river, is by Joe Ragey, with lighting by Pamila Z. Gray. The choreography is by Kikau Alvaro, while the costumes are by B Modern and the sound by Jeff Mockus.

“Big River,” which premiered on Broadway in 1985, won seven Tonys, including Best Musical, Best Score and Best Book. It does have much to commend it, but the source still has greater depth.

The show will continue at the Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto, through Dec. 30. For tickets and information, cal (650) 463-1960 or visit www.theatreworks.org.

“Joseph and the Amazing Technicolor Dreamcoat” is a popular choice for community theaters because it has a large cast, including a children’s chorus, and some catchy music — all surefire draws for an audience. Hillbarn Theatre capitalizes on these assets for its production, then adds some more of its own in the form of lots of good singing and dancing.

“Joseph” was the first publicly performed musical collaboration between composer Andrew Lloyd Webber and lyricist Tim Rice, who began work on it in 1968 and recorded it as a concept album in 1969. It underwent various changes until its West End premiere in 1973. In the meantime, the two created the successful “Jesus Christ Superstar” in 1970 and in 1976 went on to create “Evita,” their best work. Even though “Joseph” is a musical mashup of styles ranging from rock to calypso and country, one can hear some of Lloyd Webber’s signature riffs.

The large Hillbarn cast, skillfully directed by Nancy Fitzgerald-Metzler, is led by Noel Anthony in the title role of Joseph, one of 12 sons of Jacob (Bob Fitzgerald) in this Old Testament story. Because Joseph was Jacob’s favorite, the other brothers were so jealous that they sold Joseph into slavery and destroyed the colorful coat that Jacob had given him. Joseph then underwent numerous travails before gaining favor with Egypt’s Pharaoh (Michael D. Reed in an Elvis-like role) by interpreting his dreams. Eventually all turned out well, of course.

The story is mainly told by the Narrator, played by Lindsay Stark, who sings well and has a charismatic stage presence. Anthony also has good stage presence as Joseph, but he has some pitch problems in his higher range.

Choreography by Brandy Mieszkowski is one of the show’s highlights. The choral singing also is good, as overseen by musical director Greg Sudmeier. The singers are accompanied by recorded music.

The playground set designed by Steve Nyberg helps set the tone for this mostly playful show. It also serves as a good place for the 18-member children’s chorus to perch. The costumes, a mix of modern and quasi-biblical, are by Carolann Towe. Don Coluzzi’s lighting is busy in spots, especially near the end, while Alan Chang’s sound design is too loud.

Overall, though, it’s a fun show, one that has stood the test of time. It will continue at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City, through Dec. 23. For tickets and information, call (650) 349-6411 or visit www.hillbarntheatre.org.

By Judy Richter

If you’re like many people, watching “It’s a Wonderful Life” on TV is probably one of your favorite holiday traditions. Even if you’ve seen it umpteen times, you never get tired of this story about the triumph of good over evil, the emphasis on what’s truly important and the far-reaching impact that one person’s actions can have.

Marin Theatre Company dramatizes these simple truths in its production of “It’s a Wonderful Life: A Live Radio Play.” Adapted by Joe Landry from director Frank Capra’s now-classic film, this version takes place in a New York City radio studio on Christmas Eve, 1946. Five actors portray actors who create all of the beloved characters as well as the sound effects and commercials in front of a live studio (theater) audience.

In this production well-directed by Jon Tracy, Gabriel Marin stars as George Bailey, the character so memorably created by James Stewart in the 1946 film. His wife, Mary, the Donna Reed role, is played by Sarah Overman. Carrie Paff plays all of the other female characters, while Patrick Kelly Jones and Michael Gene Sullivan portray the other male characters. Sullivan also serves as the emcee, warming up the audience before the show starts.

Set in the small town of Bedford Falls shortly after the end of World War II, the story revolves around the night that George, discouraged that his bank is about to go under, considers committing suicide. Instead, he’s distracted by his guardian angel, Clarence (Jones), who’s dispatched from heaven to earn his wings by saving George. He does so by showing George all the bad things that would have happened if he’d never been born. In short, many people would be a lot worse off, and Bedford Falls would have been taken over by the greedy, heartless Mr. Potter (Sullivan). But before Clarence descends to Earth, he learns about George’s early life, his dreams and the reality of how he came so close to ending it all.

While Marin and Overman play only one role each, the other three actors have a chance to display their versatility, which they do commendably. Since we first meet Paff as Violet, the town flirt, costume designer Callie Floor has outfitted her in a flattering, form-fitting dress. Nevertheless, it serves her well as Paff portrays little girls as well as older women, all convincingly.

Jones is especially notable as Clarence, the low-key guardian angel, while Sullivan appears as some of the older men, including Mr. Potter and befuddled Uncle Billy. Overman is sweetly appealing as Mary. Marin does a credible job as George, but he can become too loud and overwrought, especially near the end.

Besides acting and creating sound effects, the actors sing music by composer and sound designer Chris Houston. Eric Sinkkonen’s set, complemented by Michael Palumbo’s lighting, is a suitably cluttered radio studio complete with “Applause” and “On the Air” signs. Seren Helday, credited as properties designer, apparently was responsible for the items needed to create realistic sound effects for a radio audience.

This two-act, 105-minute production is a great way to see a holiday favorite in a new light and to enjoy watching some of the Bay Area’s best actors. It continues at Marin Theatre Company, 397 Miller Ave., Mill Valley, through Dec. 16. For tickets and information, call (415) 388-5208 or visit www.marintheatare.org.

By Judy Richter

“Brilliant” is the only word for “The White Snake,” written and directed by the gifted Mary Zimmerman. After proving to be a hit at the Oregon Shakespeare Festival in Ashland earlier this year, “The White Snake” has come to Berkeley Repertory Theatre, its co-producer, with nearly all of the Ashland cast intact plus all of the designers and musicians.

Based on a classic Chinese fable that has undergone many permutations through the centuries, this theatrically inventive work has become a love story in Zimmerman’s hands. White Snake (Amy Kim Waschke) assumes the form of a beautiful woman so that she can thank the man, Xu Xian (Christopher Livingston), who saved her life when she was very young. She’s accompanied by her outspoken, impetuous friend, Green Snake (Tanya Thai McBride). White Snake and Xu Xian fall in love and marry, despite some of his doubts.

He’s a pharmacist’s assistant, but she sets him up in his own shop. It becomes quite successful because of White Snake’s skill in devising effective remedies and healing people. They’re happy until the villainous Fa Hai (Jack Willis), a Buddhist monk, arrives and tells Xu Xian that he’s married to a snake. “It’s just not natural,” Fa Hai says, as the 100-minute, intermissionless tale nears its mythical end.

Zimmerman’s staging employs some seemingly simple techniques, such as a billowing blue cloth to simulate a river, that aren’t necessarily original but that are nevertheless effective. Descending strips of blue cloth symbolize a rain storm.

Besides her writing and direction, the play attains its magical qualities through imaginative design elements, especially Mara Blumenfeld’s colorful costumes. Daniel Ostling’s uncluttered set design is augmented by Shawn Sagady’s projections and complemented by T.J. Gerckens’ lighting. Sound designer Andre Pluess also wrote the music, which is played by three costumed musicians below the stage.

Besides the four principals, the cast features seven other actors who play various roles and serve in the ensemble: Cristofer Jean, Lisa Tejero, Keiko Shimosato Carreiro, Gina Daniels, Richard Howard, Emily Sophia Knapp and Vin Kridakorn.

Berkeley Rep’s production is a great chance for those who saw “The White Snake” in Ashland to savor it all over again. Those who are seeing it for the first time are sure to be delighted and thrilled at its inventive theatricality.

“The White Snake” will continue at Berkeley Rep’s Roda Theatre through Dec. 23. For tickets and information, call (510) 647-2949 or visit www.berkeleyrep.org.

By Judy Richter

An upper middle class couple go to visit their son at Canp Kickapoo in Maine and return to their New York City home with their family dynamics drastically altered. That’s basically what happens in Anna Ziegler’s “Another Way Home,” receiving its world premiere at the Magic Theatre in San Francisco.

The action starts in the present, when Lillian (Kim Martin-Cotten) and Philip (Mark Pinter) Nadelman describe that fateful visit to their 17-year-old, Joey (Daniel Petzold ). It smoothly moves to the past when the events unfolded, but often returns to the present.

To say that Joey is a difficult boy would be an understatement. Having been variously diagnosed with conditions like ADD, ADHD and other problems, he’s sullen, rude, disrespectful — all manifestations of anger and depression. His behavior arouses his parents’ anger, leading him to disappear for many hours. In turn, his distraught parents become angry and upset with each other, causing them to question their marriage.

Also figuring into the action are the Nadelmans’ other child, 16-year-old Nora (Riley Krull), who has stayed home, and Mike T. (Jeremy Kahn), Joey’s camp counselor. Unlike Joey, Nora is bright and outgoing, causing no problems. Mike T. is a quiet young man who provides some valuable insight for the Nadelmans.

Running about 90 minutes without intermission, the play is well cast with each of the talented actors creating believable characters under Meredith McDonough’s sharp direction. The standout is Martin-Cotten as Lillian, the loving, concerned mother who is forced to re-examine her own life as well as her marriage and family.

The minimal set design is by Annie Smart, who also designed the character-specific costumes. Lighting by Paul Toben helps define moods, while Sara Huddleston’s sound design is subtle yet specific, such as the sound of waves lapping against a lake shore.

Despite the play’s serious themes, it has some lighter moments. For example, Nora, a huge fan of Taylor Swift, belts out parts of the country singer’s hits to explain her feelings. In keeping with the play’s overall tone, though, the ending is ambiguous as both Philip and Lillian express some regrets but seem determined to forge ahead.

“Another Way Home” will continue at the Magic Theatre, Building D, third floor, Fort Mason Center, San Francisco, through Dec. 2.. For tickets and information call (415) 441-8822 or visit www.magictheatre.org.