David Auburn's Summer, 1976 is a subtle but powerful memory play requiring two strong performances by its female cast, and the Forward Theater Co.'s production, directed by Laura Gordon and Laura Rook, doesn't disappoint.

Colleen Madden and Heidi Armbruster Photo by Ross Zentner

Diana teaches art. Her personality is punctilious and disciplined. She likes to cook. She is unmarried. She has enough money, on her own and through her family, not to have to worry too much. Alice, on the other hand, is looser about everything. She and her husband (the economist Doug, who teaches college but is waiting for tenure) are perpetually broke.

The play consists mostly of monologs by the characters, with occasional dialog in scenes between them (sometimes with Diana filling in for Doug), but the development of their relationship involves a surprising amount of plot. Auburn shows a remarkable talent for investing this story with suspense, thereby keeping interest high. A major plot point concerns Doug's idea for a babysitting co-op. He prints coupons–which act as a kind of currency–for the participants, who don't have to pay cash, just turn in coupons. The printing press–a rubber stamp–is in his desk, where anyone can get at it. What could go wrong?

Another device Auburn exploits is the fine line between fantasy and reality. We don't always know where we are between the two worlds, until the playwright yanks us back. This technique shows how well he maintains control over his material–and over the audience.

The cast manage the twists and turns of their story admirably, from 1976 to the current day, without resorting to old-age schtick or other tired devices. An additional burden for them is that the actresses alternate characters, so that Armbruster might be playing Alice on one night but Diana on another.

The play and the performances show the winding and unwinding of a deep relationship. Every detail of the story–rubber stamp, joint, wading pool, house painter, etc.–is precisely chosen to create turning points for the plot, which otherwise might just be a recitation of events. And of course the cast's sense of timing and pacing contributes vitally to the overall effect.

The Forward Theater Co. production shows complete harmony with the overall direction of the play. A simple set comprises an oval stage, with steps leading up to it to provide acting levels, atop which sits a sectional banquette with orange covers. A backdrop of ovals and squares (perhaps symbolic of Alice's and Diana's personalities?) also serves as home for rear-projected graphics. The lighting changes in subtle up-and-down bumps to underscore the changing moods (Jason Fassl, scenic, lighting, and projection designer). Rather than encumber the production with needless costume changes, costume designer Shelley Cornia put Diana in jeans and a sweater and Alice in a simple but colorful dress. In addition to subtle music throughout the play, sound designer/composer Joe Cerqua provides a '70s pop classic mix for intro and outro music.

Summer, 1976, presented by Forward Theater Co., runs through February 16, 2025, at the Playhouse Theater, Overture Center, 201 State St., Madison WI. For tickets and information, please visit or call 608-258-4141. www.forwardtheater.com

Props designer, Kaya Sarajian; Technical Director: Adam Hastings; Stage manager, Shawn Galligan;Asst. Stage Manager, Abbi Hess