Jomar Tagatac, Daniel Cantor, and Anthony Fusco Photo by Chris Hardy

Waste, written by Harley Granville-Barker in 1906, was banned from the legitimate London stage due to the scandalous subject matter of adultery–and some of its consequences. This production, adapted and directed by Carey Perloff, artistic director emerita of American Conservatory Theater, retains a very British sense of decorum in that what is felt by the characters isn't always spoken of directly in order to avoid the concern over being impolite. This means that we in the audience must pay extra close attention to the subtext underlying characters' dialogue and actions.

However, in a case of the exception proving the rule, the lead in Waste is Henry Trebell, played here by Lance Gardner, who also happens to be Marin Theatre's relatively new artistic director. Trebell is a man who despises waste and inefficiency. He's not one to pussyfoot around his emotions or his intentions. Early on, when Amy (Liz Sklar), a married woman who has attended a weekend house party at a Hertfordshire estate, is flirting with him, his wooing is nakedly direct. "You're very pretty," he says. And when she states she wants to go to bed, he cuts right to the chase: "I wouldn't ... my spare time for love-making is so limited." Soon, off they go together into the moonlight, though their tryst will have significant consequences in the light of day.

Trebell is a politician who has spent countless hours preparing a proposal to disestablish the Church of England as a state church. Now, on the eve of a new Tory prime minister being seated, he must play a political game in order to see that his work reaches completion. As Trebell, Lance Gardner is, like the character he plays, single-minded. His eyes seem to pierce anything in his gaze–whether that be a comely woman, a representative of the Church, or even a book–giving Trebell an incredibly focused intensity. He is a man of almost Spock-like commitment to logic. "I have reasoned my way through life," he states at one point.

Upon returning from a trip abroad, Trebell receives news from his one-night stand (which I will leave you to discover for yourself) that may stand in the way of achieving his goal, which the country is evidently all a-twitter about, with citizens and church leaders and politicians all taking sides. Trebell must find a way to navigate all this without broaching parliamentary protocols or losing the support of the public or the Church.

Orbiting Trebell–and advising and counseling and coercing him to one end or another–are an array of characters. There's his lovely sister, Frances (Leontyne Mbele-Mbong), and his friend, Dr. Wedgecroft (the ever-brilliant Jomar Tagatac who seems to be able to seamlessly inhabit any character he plays). There's the conflicted church leader and gentleman Charles Cantelupe (played with wondrous physical precision by Anthony Fusco), who seems to be in thrall to Trebell but is also subtly trying to insert his vision into Trebell's disestablishment proposal. Lord Horsham (Daniel Cantor) is the most Zelig-like of the characters, playing one side against the other as he walks the razor's edge toward his future as the incoming Prime Minister. Each of these actors do wonderful work in imbuing their characters with tremendous individuality.

However, my favorite performance of the evening might be that of Bay Area theatre stalwart Joseph Patrick O'Malley, who plays both Walter Kent, Trebell's secretary, and Justin O'Connell, the cuckolded husband of Amy. As the secretary, O'Malley strides with purpose in his servitude, yet he is still slightly hunched, as if expecting a blow at any moment. When he returns in act two as the aggrieved husband, it's as though he's changed bodies, now stiffly upright, with a narrowed gaze like a hawk watching its prey, and has exchanged his British accent for a melodious Irish brogue. (Kudos to dialect coach Christine Adaire.)

The set by Arnel Sancianco is gorgeous: a large cube, exposed on two sides, with a horizontal opening that seems to symbolize the division of church and state, Tory and Liberal, even man and woman. Though this set establishes a sense of luxury and privilege, it lacks the flexibility to clearly imply the differences in locations. We're never really sure (unless we note the locations listed in the program) whose house we are in at any moment.

Although Granville-Barker's play (and Perloff's adaptation) gets a bit windy at times, which causes the action to drag a bit in act two, the brilliant work being done by this marvelous ensemble makes Waste well worth your attention.

Waste runs through March 2, 2025, at Marin Theatre, 397 Miller Avenue, Mill Valley CA. Performances are Tuesdays-Saturdays at 7:30pm, with matinees Saturdays and Sundays at 2:00pm. Tickets range from $30-$85 (plus $6 handling fee per total order). For tickets and information, please visit www.marintheatre.org or call the box office at 415-388-5208.