Photo: Jeremy Daniel
The weakness of The Show-Off, at least in this production, is that you have to accept that Amy would be--could be--so blind as not to see Aubrey for who he is. Ian Gould's take on the role, while amusing, is so broad that it makes Amy seem flat-out stupid to love him. But if you're willing to accept the premise that she does, indeed, adore him, then the play works like the proverbial well-oiled machine.
Kelly's excellent writing is fabulously supported by Dan Wackerman's direction and the wonderful acting of, in particular, Annette O'Toole as Amy's humorously frustrated mother Mrs. Fisher and Elise Hudson as Amy's sister Clara, who cannot figure out why her husband doesn't quite love her. (The answer is clear to a modern audience and probably was pretty clear to one in the 1920s as well.)
The design elements are all attractive and effective: scenic and lighting design by Harry Feiner, costume design by Barbara A. Bell, sound design by Quentin Chiappetta, and properties design by Jessica C. Ayala. Particular kudos are due to Paul Huntley for his wonderful wigs, which do not call attention to themselves and completely support the sense that Amy, Clara, and their mother are indeed related to one another.
I had heard of the Peccadillo Theater Company, but since in New York City you can't see everything (hell, you can't even make a dent), I had never caught one of their productions. I will be sure to catch them in the future.
(front orchestra, taken by a friend)