The Lapsburgh Layover

No one likes a layover, so the citizens of the fictional, assumedly Eastern European nation Lapsburgh set up a dinner theater to entertain weary travelers (and attempt to sell time shares.) The talented Berserker Residents fully commit to their roles and keep the evening churning with comedy. However, "The Lapsburgh Layover," written and performed by the company, still feels somewhat unfinished, despite an original concept and entertaining performances.

After filling out my obscure, seemingly useless customs form, a flight attendant ushered me into the Lapsburgh customs area before arriving at a gaudy, lavish club. (Lisi Stoessel's set design feels appropriately kitschy European). The supposed scenario is that the audience's plane needs to refuel, and the Lapsburgh people have taken it upon themselves to put on a show for the tourists. The bar buzzes with activity as the audience settles, and the actors mingle in character as their Lapsburgh alter egos. Oleg Tolsten (Dave Johnson), Jebgozya Gilsty (Bradley K. Wrenn), Olaf Nystabakk (Justin Jain), and resident celebrity Zelda Tre'Force (Leah Walton) present a detective mystery whose themes derive from American entertainment clichés. A film noir–esque private detective (Oleg) is on the case to catch a murdering she-man villain (Jebgozya) in Connecticut City, who kills several citizens (Olaf) along the way in the nightclub of Zelda Tre'Force (playing herself).

Mini-earthquakes and frog sightings—the killer amphibious enemies of Lapsburghers—continue interrupting the show, and the evening ultimately unravels. The detective tale fizzles when the danger threat looms, and the show begins to feel confused and misdirected. Oliver Butler helms with an appropiately loose hand, as the casual moments are where the piece soars, but the ending could use some tightening. However, M.L. Dogg's sound design for the finale is awesome.

The sharp-witted quartet fill their roles with ease. As Olaf, Jain is simply hilarious, particularly playing the comic bit parts, such as Big Fancy Mayor and Fizzy, the Bartender. Olaf's PowerPoint presentation is a definite highlight, and when Olaf simulates riding a hand-drawn sheep on the projection screen, Jain's innate fun-loving persona is infectious. Wrenn is entirely empathetic as Jebgozya, a legitimately trained actor who must portray the villain due to Zelda's predilection for Oleg. Johnson has the deadpan detective down pat playing Oleg, and though he plays the straight man, the actor still wins laughs with his self-awareness and absurd moments. Walton's Zelda is charming, and her pseudo-Russian accent completes the character.

Ultimately, the show provides a perfectly entertaining evening, and the actors' comic timing and intuition are admirable. However, the play itself needs a little reworking to fulfill the intriguing concept.

Presented by and at Ars Nova, 511 W. 54th St., NYC. Sept. 12–24. Tue.–Sat., 8 p.m. (212) 352-3101, (866) 811-4111, www.theatermania.com, or www.arsnovanyc.com.