The Tragedy of the Commons

Stephen Metcalfe's lacerating drama, which premiered in January in San Diego, makes its L.A.-area debut following substantial script revisions. The philosophical piece examines the plight of a family in meltdown, placing the characters' domestic travails within larger contexts of ecological disintegration and social responsibility. There are echoes of Henrik Ibsen's "An Enemy of the People" here, yet Metcalfe's themes seem sharply in sync with modern times, as global and national news reports foster ongoing personal anxieties for everyone. Though the script doesn't always feel perfectly focused, director Dave Florek guides a superlative cast through an affecting and thought-provoking production.

Former teacher Dakin Adams (Brian Kerwin), in his 60s, spends his time blogging on environmental and political topics. His fixation on these issues leads him to largely shut out his wife, Macy (Leslie Hicks), who has little interest in cyberspace communications. She wishes she understood the demons driving Dakin into emotional isolation. When the couple's neighbor Carl (Edward Edwards) and his wife decide to move away, Dakin fears that someone will purchase the adjacent house, rebuild, and add stories, thus ruining the cherished view from his terrace. Dakin's concern grows into an obsession, as his daughter, Ellen (Austin Highsmith), a lawyer, tries to advise him, and the ghost of his deceased son, Spencer (Lane Compton), periodically visits his psyche. When a strong-willed investor (Jeffrey Stubblefield) buys the vacating property, Dakin's personal crisis reaches a boiling point.

Kerwin delivers a riveting multilayered portrayal, balancing with grace notes of poignancy the irritating and loony aspects of Dakin that are becoming too much for Macy. Hicks is terrific, illuminating Macy's patience and compassion, as well as her character's ultimate breaking point. The contributions of the supporting players are likewise superb.

Through no fault of Compton's, the scenes between Dakin and his son's spirit feel extraneous at times; less would be more. The play is at its best when the everyday concerns of Dakin and the larger matters about the welfare of the world are subtly linked. Yet Metcalfe and Florek achieve a resonant portrait of the connection between the personal and the political and the ways that society can invade our personal space more than we realize.

Presented by and at the Ruskin Group Theatre, 3000 Airport Rd., Santa Monica. Sept. 30-Nov. 6. Fri.-Sat., 8 p.m.; Sun., 2 p.m. (310) 397-3244. www.ruskingrouptheatre.com.