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The more convoluted the machinations, the better the payoff.
The Cottagetries to emphasize the fizz, but nobody remembered to shake the soda can beforehand.
Its full of explanations, light on mess.
Nothing here will surprise, let alone maim, anyone.
Steingold, with a dazed stare and an intentionally slippery accent, ping-pongs between animated and sedated.
The overlarge performances come along with the meta-self-consciousness of Rustins script, and thats a problem.
She specifies, for example, that the characters are always finding and lighting cigarettes with random objects.
Fittingly for the 1920s setting, Rustin even weaves in a few references to the womens-suffrage movement.
Like a lot ofThe Cottage, it all fits together pleasantly and too neatly.
Youd think, or hope, that upending the status quo would involve a bit more mess.
