Coastal Disturbances are predictable in Howe's play

Tina Howe, has been, for me, an inspiring playwright -- until I saw, with great anticipation, "Coastal Disturbances" at the Berkshire Theater Festival yesterday. The play, despite energetic performances and a lovely sand/lifeguard stand setting, is terribly flat. Doesn't surprise, doesn't move, doesn't hold attention. It isn't bad but it hasn't an edge or the eclectic type of humor -- qualities which distinguish some of her other plays.

I saw "Painting Churches" twenty years ago at StageWest and the production sticks with me. I remember performances by Ellen Lauren and Anne Pitoniak but had to look up the name of the third actor -- John Straub. Eric Hill directed.

As a community college theater director, I chose to stage "The Art of Dining" (slapstick) and "Museum" (parody). Lotta fun and some patrons laughed (I hope with us) as they departed the theater.

"Coastal" boasts intriguing if recognizable characters. Annie Parisse is sublime as Holly Dancer (a photographer who has wandered onto a beach north of Boston). She cannot desist from falling for muscular lifeguard Leo Hart (Jeremy Davidson). He can't keep his hands to himself, eventually burries her in the sand.

Meanwhile, Ariel Took (Jennifer Van Dyck), a divorcee, berates her most obnoxious young son, Winston (Rider Stanton). Ariel's friend Faith (Marcia DeBonis) speaks of the lifeguard's physical and undeniable attributes. M. J. Adams (Patricia Conolly) and her husband Hamilton (Jack Davidson) have been married for decades -- somehow -- since they've endured indignities, cheating.....

Late on the scene is full-of-himself Andre Sor (Francois Giroday) who will provide the artiste, Holly (also his lover), with a major show for her work. Holly skips jauntily out of Leo's reach, settles within Andre's welcoming arms, and leaves the beach.

Howe has written in a love triangle. But, Andre is thoroughly unsympathetic, Holly betrays her physical instincts, and poor Leo (not surprisingly miffed and irritated) tends to the final days of his summer job. During the second act, I had high hopes that Howe's conclusion would be: wry, dark, ironic, unsettling -- something! No such luck.

I expected more. Howe is a fine dialogue writer. Bill Clarke's scenic design is charming. Dan Koglowitz shifts his lighting accordingly from broad daylight to sunset hues.

Not enough happens. Hence, "Coastal Disturbances" is not especially disturbing.