Interplayers’ Talent Makes ‘Sisters’ A Delight

“The Sisters Rosensweig” Interplayers Ensemble, Friday, May 24,

When I first read Wendy Wasserstein’s script, back in 1993 when the show was first gaining acclaim on Broadway, I was a bit baffled. The characters seemed over the top, the gags seemed facile.

Now, after seeing the Interplayers production which opened Friday, I know why “The Sisters Rosensweig” was such a sensation. The characters, who seemed cliched on the page, came to life. They became the Sisters Rosensweig, who, instead of merely being a collection of cute mannerisms, were a remarkable and endearing trio of women.

Not that they still aren’t a little cute for their own good. They jump up and dance around on the slightest provocation. They use words like “funsy” a lot. They can go through three or four mood swings in five or six seconds. But after this three-hour sisterly gabfest, insult-fest and introspection-fest, I was delighted to have met them.

In fact, this is now my favorite of the Wendy Wasserstein plays. It sounds less like the anxious polemic of a woman concerned about feminist appearances, and more like a woman who is simply thinking about life. During the course of this play, two of the three sisters struggle with the enduring and not-very-feminist question of “what man is right for me?” One finds a happy answer and one doesn’t.

But all three sisters, gathered in London to celebrate the eldest one’s 54th birthday, find some other answers to guide them through mid-life. The answers are not terribly original. You could sum them up as “be yourself” and “seize the day,” but they are still lessons that we can’t hear too often.

And through all of this, Wasserstein demonstrates her almost Neil Simon-like knack for snappy comebacks and one-liners.

For instance, here’s the middle sister, Gorgeous, telling the younger sister, Pfeni, that her homosexual boyfriend is not right for her: “I know you can’t judge a book by its cover, but sweetsie, you’re at the wrong library altogether.”

This is all directed with remarkable verve by Joan Welch, and well-acted by a fine ensemble of actors.

All three sisters are believable, which, especially in the case of Page Lewis-Byers as Gorgeous, is a feat in itself. Gorgeous seems too over-the-top on the page - the rich, fully accessorized bundle of pep who also happens to be a radio talk show host - but Lewis-Byers found the scared and exhausted woman underneath that facade. Her scene with the broken shoe is funny and frightening at the same time.

Mary Ann Seibert also had her work cut out for her as Sara, the eldest, whose overriding trait is a British-like restraint. Seibert showed that her restraint is not just a frigid aloofness, but is often an admirable kind of dignity. Physically, Seibert’s regal bearing and mask-like repose were perfect for the part.

My favorite performance came from Therese Diekhans as Pfeni, the youngest sister, who roams the world writing travel articles. Diekhans portrays her as almost perfectly sympathetic - affectionate, wry, smart and resignedly lonely. She is who we identify with most, not just because she most resembles the playwright, but because Diekhans’ performance is so down-to-earth.

There are a slew of fine supporting performances, the best coming from Cheyenne Wilbur as the flamboyantly lovable Geoffrey, Leslie Gray Krantz as the observant daughter Tess, and Yaakov Sullivan as the American furrier who falls in love with Sara.

Sullivan displays an aching sincerity in his feelings toward Sara, which adds heft to Wasserstein’s characteristic glibness.

, DataTimes MEMO: “The Sisters Rosensweig” continues June 15 with showtimes at 8 p.m. on Fridays and Saturdays; 7:30 p.m. on Tuesdays, Wednesdays and Thursdays; and 2 p.m. matinees on May 25, 29 and June 1. Call 455-PLAY for ticket information and reservations. The theater is at 174 S. Howard.