Maxwell Anderson's 1945 play about the psychological fallout of World War II sets the standard for that ilk in which an establishment—in this case a beachfront grill just north of L.A.—serves as the nexus for a mismatched handful of characters. While purporting to explore the emotional damage on the postwar home front, the piece also has much in common with a good soapy poolside novel.
It takes a little longer than it should to settle into the little universe of the congenial Kip (a delightfully warm Warren Sweeney) and his flinty wife Min (Janet Chamberlain, a nice counterpoint but whose Maine accent leads to some rather odd line readings), owners of the eponymous restaurant, since director William Alderson leads off with video clips of the war, lending an unnecessarily didactic air at the top of the show. The cast of 20 practically constitutes a village, but the primary stories involve only two couples: Anne (Rosemary Boyce) and Mort (Silas Weir Mitchell), Sage (Trevor Long) and Tory (Melanie Haro at the performance reviewed). The first has trouble re-connecting, while the other has quite the opposite problem.
Boyce, as the waitress with more backstory than you'd imagine, is a nice anchor to the piece, perhaps a bit too modern for something so period but generally on target. Mitchell, as the husband who has to track her down, has an odd but dashing air that nudges the play closer to that soulful '40s performance style. Long's approach to the part of the jealous returning solider at first seems weird, a bit too studied to read as anything more than acting (and rather a large nod to the Brando original). In his big scene, though, in which he shares the stage with only one person, the jangled little pieces fall into place and he's marvelously effective. Haro is a lovely creature who effortlessly comes across as the girl next door who has, alas, actually been around the block.
The sizable supporting cast is quite effective, but it must be noted that Kara Keeley, as an anxious young woman whose life centers on communication from her man overseas, is simply perfect. She has that break-your-heart quality this sort of play cries for. Alderson's direction is fine within scenes, but there's never an overall sense of the piece; there's nothing natural or comfortable about the flow.
The set, designed by the director, is very nice, although Kenny Klimak's rather loud sound design makes it seem as if the café is above, not near, the ocean. Desiree Rhine has come up with some great costumes, although when I saw one character in layered flannel and another in a swimsuit in the same scene I couldn't figure out what was going on outdoors.
While the piece is certainly dated, its themes of forgiveness and hope aren't. One must love any script that would offer up the line, "There's one thing you can't wreck—the indomitable spirit of mankind," utterly without irony.
"Truckline Café," presented by and at the William Alderson Studio Theatre, 8213/4 N. Fairfax Ave., W. Hollywood. Fri.-Sat. 8 p.m., Sun. 7 p.m. Nov. 9-Dec. 16. $12. (323) 852-1816.