A thin, meandering script and a discombobulated production add up to a problematic evening from Sage Theatre Company.
The Prancing Horse, written by Richard Lay, a founder of the company, is about a coterie of people at a casino. Jimmy, a surgeon, is a compulsive gambler. He chats with Joe, the friendly barkeep, and takes a benevolent interest in Charlotte, a young, bulimic blond dancer. Meanwhile, Becky the prostitute schmoozes with Jimmy and sets up Charlotte with Becky's ex-boyfriend Ed. It all resolves ever so neatly when Ed reconnects with Charlotte, and Becky agrees to marry Jimmy.
None of the characters are especially developed or in urgent need, and all of them are so sweet they don't seem real. The divorced Jimmy, for instance, urgently offers to help the attractive Charlotte with her medical issues without taking any interest in her romantically. Then, at the end of the play, Jimmy suddenly says he loves Becky and proposes. It all feels random, and it's ultimately hard to know what Lay is getting at.
Director Martin Ewens has not been meticulous with this script. The mostly low-energy actors are hampered by sloppy production values: At one point the stage went mysteriously dark. Transitions are consistently awkward and slow. The big bright spot is Romy Nordlinger, who shows a great deal of flair, timing, and wit as Becky. Pierre O'Farrell has an appealingly cool, deliberate style as Jimmy. Tod Engle is engaging as the bartender and as a doctor, but Sheila Griffin (Charlotte) and Chris Ford (Ed) are monotonous and uninspired. Tommy Barz's brassy set is perfectly appropriate and promises more than the play delivers.
Presented by Sage Theatre Company
at the Abingdon Arts Complex's June Havoc Theatre, 312 W. 36th St., NYC.
Sept. 14-Oct. 1. Thu.-Sat., 8 p.m.; Sun., 3 p.m.
(212) 868-4444 or www.smarttix.com.