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Capsule Stage Reviews: 2 Pianos, 4 Hands, Getting Sara Married, Life Could Be a Dream, Life Is a Dream, Superior Donuts, Women@Art

2 Pianos, 4 Hands Richard Greenblatt and Ted Dykstra, both talented Canadian pianists and actors trained for careers as classical musicians, have created a play with music that defies description. It uses humor, musical ability and insightful memories of childhood piano lessons to delineate a world of ambition, frustrations, hard work, and responsibilities shared or shirked, all recollected and described with unflagging energy. Tom Frey plays one of the creators, Ted, and Jeffrey Rockwell plays the other, Richard, and both actors are skilled pianists themselves. They alternate playing tutor, student and parents in a series of vignettes of piano lessons, painful at the time but amusing in recollection. My favorite teacher, played by Frey, is an elderly maestro who teaches while supine on the floor and advises the 17-year-old student that playing an arpeggio with one hand will get him chicks because they find it manly. Frey is not only an excellent actor, he is also a deft mime — his facial expressions and eloquent gestures enhance the humor enormously, and Rockwell matches Frey in musical ability and acting proficiency. This is a comedy, with some poignant moments: We meet a seriously unhip classical musician whose dream is to be a jazz pianist, a child of ten who doesn't want to practice and a musical nerd of 17 who doesn't want to stop. Even if you've personally never endured the rigors of piano lessons, you will still savor the earnest drive of youth, the stardust in the eyes of young performers and the agony of rejection. This musical pastiche, a huge success in Canada, the U.S. and around the world, is receiving its regional premiere here, and it's directed with pace and split-second timing by Frey. Adroit writing, skilled performers and an inventive recollection of childhood and adult musical travails merge into a fresh and invigorating comedy, laced with insights and delivering a rich comedic and emotional experience. Through October 28. Stages Repertory Theatre, 3201 Allen Parkway, 713-527-0123. — JJT

Getting Sara Married It's no surprise Sara has TV written all over it — playwright Sam Bobrick is a former master craftsman of the family comedy. He's had his hand in The Andy Griffith Show, Bewitched, Get Smart and The Smothers Brothers Comedy Hour, among many other classic shows, so he knows all about the technique for writing comedy. The basic hook is whimsy itself. Workaholic Sara (Sarah Jean Bircher), a lawyer in Manhattan, insists she doesn't have time for romance, doesn't want romance, doesn't "need" romance. Her yenta Aunt Martha (Jan Searson McSwain) has other ideas, and, before you can say "old maid," has taken matters into her own hands and dropped off a potential suitor — literally. Knocked unconscious, Brandon (Ozzy Tirmizi) is wheeled in on a freight dolly by teamster Noogie (Ainsley Furgason) and dropped at Sara's feet. Emerging from his amnesiac haze, Brandon comically reveals he has a fiancée (Sabrina Rosales). Cut to his moony eyes and then Sara's surprised face. Go to commercial. We're in sitcom land with a vengeance, where this type of genre demands finesse and a deftness of playing that belies the gravity-less situations. Although she's an attractive performer, Bircher's tone is off. She gives Sara a lot more brittle edges than the character needs. If you let these paper-thin people start to think and have real feelings, you'll collapse their house of cards. Tirmizi fares better, with a sweet, lighthearted approach to Brandon, probably due to those multiple knocks on the head from Noogie. He's young and reedy, barely filling out the three-piece suit, but he's light without being lightweight. When he warms to Sara, there's that glint in his eye. Wacky sitcom sidekicks were invented to give comic relief, and Bobrick invents two good ones in Aunt Martha and Noogie. When McSwain and Furgason are onstage, the play feels right. Martha's an airhead with a heart of gold who kidnaps Brandon for the purest of reasons. McSwain lands her punch lines with a pro's swagger, delivering the gems by the bagful. Furgason barrels in like a Bronx Yosemite Sam, one of those countless delivery men or telephone repairmen made famous by Neil Simon. You know, the guys who have the timing down to the second and the quip even faster. After a while, you start thinking: What if Aunt Martha and Noogie got together? What a play that would be! Through October 13. Theatre Suburbia, 4106 Way Out West Dr., 713-682-3525. — DLG

Life Could Be a Dream Another jukebox musical — the time is the '60s and the music is doo-wop — delivers nostalgia, charm and warm good feelings, but this time with a plot as well. The setting is a basement rec room where the slacker kids hang out, and, yes, "Get a Job" is amusingly staged, with the unseen mother chiming in on an intercom system. Denny (Adam Gibbs) is leader of the singing group, and he's the one with some show-business polish. Eugene (Mark Ivy) is a stereotypical nerd, and friend Wally (Dylan Godwin) drops in and joins the Denny and the Dreamers group; his trademark signature is enthusiasm. The group expands to include Skip (Cameron Bautsch), a mechanic from the wrong part of town; his trademark is to look hunky, which doesn't go unnoticed by Lois (Rebekah Stevens), whose uptight dad is a snob. The suspense is whether the group can get its act together to win a local contest being held the coming Saturday. Director and choreographer Mitchell Greco keeps the pace clipping along, and the voices are pleasant enough to carry the 20-plus songs, such as "A Sunday Kind of Love" and "Unchained Melody." Godwin has the greatest range, most intelligent rendition and impeccable phrasing. There are a lot of physical comedy and broad reactions, and these are appropriate and work well. The finale has a Chorus Line moment that lets us escape the basement and the irritating mother on the intercom. All this is created by Roger Bean, who wrote the long-running hit The Marvelous Wonderettes. This musical, intended for light summer fare, delivers on its promise, providing humor and nostalgia and letting us again relive the tuneful melodies of the '60s. Through October 14. Stages Repertory Theatre, 3201 Allen Pkwy., 713-527-0123. — JJT

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