Torrid affairs are in no short supply inside The Cottage. Sandy Rustin’s comedy blends soap opera and rom-com as three couples navigate a tricky web of trysts and sexcapades. A nod to Noël Coward, the American playwright crafted a thoroughly British comedy. Stage West closes its season with a production that finishes with a glorious bang.
The story opens with Sylvia and Beau after a steamy night, followed by the reveal that both are married to others. Sylvia insists their connection is something more and sends telegrams to her husband and Beau’s wife revealing the affair. This unleashes a cascade of secrets, leading to additional affairs, a murderous ex, and a questionable pregnancy—all laced with feminist empowerment.
Under Emily Scott Banks’ direction, this cocktail was a lush, sophisticated comedy that delivered relentless laughs, bolstered by strong performances throughout.
If there was a striking first impression, it began with Leah Mazur’s stunning set. Sprawling and gorgeous, it filled every inch of the space to recall a British garden estate. Paired with Maria Leon Hickox’s property design, the set became more than a backdrop—the cottage functioned as its own character. Cozy yet posh, it was crafted with meticulous detail.
This ensemble was a magical mix as well. Dialect coach Megan Noble’s work was on full display: thick English accents and inflections heightened every line to humorous effect with that Downtown Abbey realness.
Not all was pure farce. Quieter beats worked just as well, particularly with Natalie Young’s depiction of Sylvia’s self-discovery. Both lovely and lively, Young’s performance served as the production’s emotional anchor while showcasing her versatility.
Parker Davis Gray continued his comic streak from T3’s Dirty Rotten Scoundrels in June as Beau with a sharp performance, marrying physical comedy with precise dialogue delivery. Like Young, he seamlessly shifted from quiet moments to audacious outbursts.
Every character stepping onstage only heightened the comedy that increased the show’s momentum.
Nicole Renee Johnson and Lee George played Marjorie and Clarke, another pair caught in the growing web of deceit. George was magnetic as Clarke, injecting effortless charisma into the production, while Johnson’s regal performance provided a grounding contrast with understated humor.
Kristen Lazarchick and Philip Matthew Maxwell entered later as Deirdre and Richard. Lazarchick began charmingly before devolving into a drunken state that channeled Lucille Ball-like physical energy. In contrast, Maxwell arrived with a loud bluster that eventually settled into a subtle poise, performed with facile prowess.
With such an unruly group of characters, director Banks’ control gave each actor space to shine without overwhelming the narrative pacing. Her direction moved with finesse. She also gives the show’s conclusion a moment to breathe for the audience to savor.
Stage West had already announced its upcoming lineup, but The Cottage may just make this current season hard to forget.
The show runs through Aug. 30.
–Rich Lopez