Didi Conn and Jenny Leona

It seems that blonde, fair, shapely Louise Maske (Jenny Leona) has just returned from watching a parade in Dusseldorf and, while she attempted to catch a glimpse of the passing King, her underwear string loosened and the garment slid to the ground. This all occurs early in the 20th century. Her husband, Theo (Jeff McCarthy) is an assistant government clerk and fears his career will be in ruin. He sees only himself.

It so happens that a few men caught a glimpse of the underpants and are now hoping to woo if not bed beautiful Louise. Since she and Theo have a room for rent, those pursuing her might be able to gain proximity. Burke Moses plays Frank Versati, a flamboyant poet who is quite taken with the young woman—and with his own person, too. Benjamin Cohen (Steve Routman), a barber, comes along too and attempts to camouflage his Jewish religious heritage by saying that his last name begins with "K".

Louise, married for a year, has not yet lost her virginity. Upstairs neighbor red-headed Gertrude (Didi Conn) urges Louise to have an affair. Gertrude, well into the play, finds herself sought after. Later on, the final character, Klinglehoff (George Bartenieff), white-haired but still spry, comes on the scene.

The home's interior, as decorated by designer Lee Savage, is inviting and even cute. Everything is of the period: sink, stove, table ... and there is a small stairway which actors climb toward both guest and master bedrooms. Jess Goldstein's costuming is quite wonderful, featuring bloomers, dresses, and suits of the era.

Gordon Edelstein directs the show and he provides specifics while allowing performers who realize Martin's comic potential to flourish. The writer (who has said that he cherishes the freedom scriptwriting affords him) supplies dialogue which is snappy and satirical. Any conventions are fair game.

Jenny Leona, who recently graduated from Julliard, makes her debut on the regional stage, and is at the center of this play. She is totally in command of her character throughout. Her Louise is, at first, naïve but she sees promising developments and will grasp (so the speak) cogent moments. The performance is both poised and crisp.

I happened to see Jeff McCarthy just a few months ago as he showed range in Barrington Stage Company's Southern Comfort. Cast then as someone transgendered and evolving from male to female, here he is Theo: panic-stricken, dollar hungry, stereotypically male for that time and place—and insulting to his wife. McCarthy's well-disciplined turn further accentuates his versatility.

The comic romp is all about timing. No one is more proficient than is Did Conn, embodying small yet sharp-witted Gertrude. The character is not only smart but hilariously diverting, too. Conn plays equally, it seems, to those on stage and to theatergoers as well. Splendid work.

It would do the production a disservice to label it a farce. The presentation, surely, showcases that aspect of theater genre and is also mentally agile and delightfully quick-moving. The finale, by the way, is not be missed. Those eager to sprint for cars and imminent departure should delay: the concluding frolic is a joy. This adaptation is indicative of and all about Steve Martin, who demonstrates his ingenious ability to create. Martin, figuratively, is right there with all that goes on.

The Underpants continues at Long Wharf Theatre in New Haven, Connecticut, through November 10th. For tickets, visit www.longwharf.org or call (203) 787-4282.

Also see the current theatre schedule for Connecticut & Beyond

- Fred Sokol