On a table in Brooke and Owen's living room is a thin little book titled The Impressionists and Their Art. No disrespect to that author, but his publication serves as a symbol of the superficiality with which the director and actors approach their work here, making Kristen Lazarian's script look just as anemic and inexpert. What works in the script — a scattered recounting in Act 1 of the play's events is tidily completed in Act 2 — at least remains intact and somewhat satisfying.
Director Michael Connors seems to have let his actors continue to work at the table-read stage rather than doing any delving. Whatever subtext the actors might have gleaned is not apparent to the viewer — with the exception of Meredith Bishop's performance as a decoy hired by Brooke to nail Owen for no apparent reason. None of the actors has a particularly strong stage voice. And several evidence no stage chops whatsoever, appearing completely uncomfortable "from the neck down." Music underscores scenes, making the dialogue even more inaudible. Blocking is puzzling and distracting, particularly when characters are walking past what we can only infer is a window.
Brooke, an art dealer, receives a painting wrapped in brown paper. With scissors she slices deeply into the front side of the package. Had someone dug as deeply into the play, missteps like this would not be on view for all to see.
Presented by Theatre 40 at the Reuben Cordova Theatre, 241 Moreno Dr., Beverly Hills. Repertory schedule. Oct. 11-Nov. 9. (310) 364-0535. www.theatre40.org.