Along with his works Plenty and The Secret Rapture, David Hare's 1995 drama is one of his "Big Lady" plays, in which a strong willed female protagonist is ultimately hoisted by the petard of her own glittering ideals. In this case, the woman in question is sensitive Kyra (Erin Shaver), who has broken up with her former restaurant tycoon lover Tom (Stuart W. Howard), after his wife found out about their affair. Kyra, now punishing herself by living in a frosty flat in an unfashionable part of London, where she ekes out a living teaching inner city schoolkids, is unexpectedly visited by Tom, who, now that his wife has died of cancer, is eager to rekindle their flame. The romantic sparks start to sputter, though, when the piece sidelines into a fiery debate about the principles and flaws of Capitalism and Liberalism, which, frankly, is Hare's real concern. It's possible that in a few weeks director Ken Meseroll's stodgy production of the seething drama will gel to reflect the play's subtle emotional shifts and nuances in a more involving way. At this point, though, Meseroll's staging is merely workmanlike with flat line readings and stiff blocking, while also missing the psychological edge and layering implied by Hare's delicate, yet fiercely intelligent script. Shaver offers a likable, if emotionally restrained turn as Kyra, while Howard is nicely oily and pompous as Tom. However, it's hard to believe for a moment that the pair would have had an affair. In addition, the performers are often so hamstrung by their attempts to wrestle with the British dialect, you almost wish they had jettisoned it entirely. Set designer Joel Daavid crafts a beautifully detailed, warm, and intimate living room set which nevertheless feels utterly at odds with the frigid description of the location in the play itself. Fremont Centre Theatre, 1000 Fremont Ave, South Pasadena; Thurs.-Sat., 8 p.m.; Sun., 3 p.m.; thru June 20. (866) 811-4111. (Paul Birchall)
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