Una Comedia de Enredos con Reflexión
While researching, I noticed that the number three appears in the important dates for North Coast Repertory’s latest production, The Cottage, by American playwright Sandy Rustin: it is set in 1923, debuted in 2013, and had its Broadway premiere in 2023. It opened on the 31 in Solana Beach, so if you’re into numerology, tell us what that means in the comments.
An absolute comedy of errors, The Cottage takes place in an English countryside cottage owned by Beau (Taubert Nadalini) and Clarke’s (Jacob Caltrider) mother. Both brothers are married and have brought their wives into the cottage’s joys. When Clarke’s wife, Sylvia (Katie Karel), decides to send a revealing telegram to a couple of family members, the story begins a nonstop, bumpy, and twisty ride that will, in turn, reveal more truths.
Sean Fanning’s beautifully detailed set design for the cottage shows why the family loves it so much. The setting includes the front door with an entrance hall, the living room with a swinging door to the kitchen, and stairs to the second floor. A stained-glass window adds a perfect touch to the already aesthetic frame. Zachary Elliott’s props not only round out the visuals but also the “errors” action, with various scenes featuring objects popping within other objects that had the audience gasping with laughter. Matt Novotny’s lighting came in and out accordingly throughout, including the pass to intermission. Having a good pass to intermission, when all the elements align, is such bliss, and ‘Cottage has it.
Speaking of rounding out, with this piece Shana Wride proves once again what a complete artist she is, from acting in comedy or drama to directing complex pieces to comedies like this where the pace is fast, as so much is happening with various characters while giving each actor their time within the active rhythm, to come through and shine. The blocking is precise, with strong movement throughout the stage while keeping the fourth wall intact. It even seems as if there is a glass between the stage and the audience.
I believe the last play I saw Katie Karel in was Birthday Candles at NCR last year. It left a strong impression on me and is one of my best for 2025. Seeing Katie from that light to this one, being cynical and funny, made for a very enjoyable experience. Lauren Weinberg, as Beau’s wife, Marjorie, was also a joy to watch; the last time I saw her in A Gentleman’s Guide To Love and Murder, also a NCR production, her comedic flair came full throttle; this time the performance was more on the gag-heavy side, which Weinberg handled flawlessly and with grace. Melanie Chen Cole’s sound, like Elliot’s props, was key to the gags’ “special effect” aspect, especially for the role of Marjorie. I lost all composure during that time while tears of laughter flowed down my cheeks.
Abby Leigh Huffstetler, in her North Coast Rep debut as Dierdre, was joyful and fun while also embracing the gags. Another visually striking element for this production is Shirley Pierson’s costume design. From Dierdre’s coat with purple accents to Marjorie’s blue suit and Sylvia’s stunning robe over a sensual negligee, with pompommed slippers to match. From the garters to the stockings, Pierson nailed it. The men’s costumes were flawless. Beau is a lawyer and definitely a ladies’ man. From the shoes to the three-piece suit, Taubert Nadalini looked impeccable, adding charged mannerisms, side-eye, and gulps to his interpretation. Jacob Caltrider, as the confident yet bewildered Clarke, also wore a three-piece suit fitted to perfection, as was his British accent. Emmelyn Thayer is the dialect coach for this production, and it was a great job, as the British accents were different, honing in (I would like to think) on the different areas these characters are from. Josh Cahn won me over as Joel in the production of Beau Jest earlier this year, and that impression continued in this production as the apothecary, Richard. Cahn is a comedian, and he brought that tool to this piece with subtle physical comedy, including a “reveal” handled with care and great timing. I was sitting in a very chatty area, and both the people next to me and the person in front of me were discussing the play-by-play during Josh’s first scenes.
The Cottage is definitely a fun time at the theatre and a good date night to unwind and forget about the world for a while. Within all the laughs and the gags, there is a nice, redemptive message. Just like a big red wrapping bow.
Running time is around 2 hours and change, including a 15-minute intermission. It has been extended until December 6, so there is still plenty of time to go and catch it.
Christopher M. Williams is the Stage Manager, and Jay Brace is the Production Assistant.
