What do you get when an over-analyzing relationship psychiatrist, a condescending snobbish lawyer, a free-spirited fashion junkie, and a sniveling failing writer visit a cottage together? The beginning of “The Long Weekend.”
Written by Norm Foster, “The Long Weekend” documents the topsy turvy weekend of two miserable couples who are unsatisfied in their own relationships and are actively seeking a steamy love affair. Although Theatre 40’s production could use some minor improvements, “The Long Weekend” delivers lighthearted, casual entertainment without surreptitiously adding grave themes that all too often bog down plays.
Thanks to his writing, Foster allows for a wide interpretation of “The Long Weekend”, and the actors seize the opportunity with open arms. Throughout the play, the quartet tries to get the better of one another. The aspiring writer Roger (Shawn Savage) cannot let go of the $23 that lawyer Max (John Mullen) owes him, while Max cannot stop harking about Roger’s unfinished screenplay. Fashionista Abby (Lizzie Peet) constantly scrutinizes psychiatrist Wynn’s (Kathryn Larsen) lacking style, and Wynn always undermines Annie’s rocky relationship. As they playfully bicker without interruption, the characters can no longer discern what is a compliment or an insult. In the end, the feigned ignorance to each other’s contempt is charming and whimsical, creating an atmosphere where laughing at the characters’ vices is completely acceptable and even encouraged.
As dynamic as the actors are, the lighting lacks the same mobility and gusto. Resulting from the static lighting, the audience is often left wanting for a break from the colorless monotony. To make the play more lively, the lights could have changed throughout the day, highlighting either the time or the mood. Instead, to the play’s detriment, the lighting stagnates and proves itself uninspiring and one-dimensional.
In addition to the lighting, the second act’s set could have used more dramatic changes. Although the stage accurately captures the woodsy, relaxing feel of a Canadian country cabin, it largely remains the same. Since Act II takes place two years in the future, the expectation is that the cabin would be fully remodeled in the image of the new couple. However, the new lady of the house, Abby, only replaces an art-deco chair and repaints the kitchen walls. It is not enough, especially considering the drastic discrepancy in personalities and styles between the two women. To establish Abby’s presence, the stage would have improved if the furniture was rearranged or new paintings were added to the walls.
If the passage of time does not reconcile well with the stage, it definitely harmonizes with the wardrobe. Roger’s transformation from a beach bum to a fully loaded Hollywood big shot is perfect. Equipped with expensive jewelry and designer-name clothes, Roger only persists in his innumerable mental issues and groveling personality. Not only does costume designer Michele Young immaculately dress Roger, but she also captures each character’s spirited individuality. Annie’s penchant for outrageous clothes and Wynn’s for the straight-cut uphold and further define their startlingly different personas.
Hilarious writing, great performances, and fitting wardrobe: “The Long Weekend” has a recipe for an enchanting comedy. Even if the lighting and the stage design could use revisions, it does not take away from the eccentric characters and their dysfunctional relationships.
Playing at Theatre 40, “The Long Weekend” will continue its run until July 1. Tickets cost $25, and the theater is located at 241 S. Moreno Drive in Beverly Hills.
Natalia Evdokimova has been involved with theater throughout her life and has reviewed theatrical productions for local and citywide publications since 2005.