by Miryam Gordon - SGN A&E Writer

UNDO
ANNEX THEATRE
Through February 16

A world-premiere play by local playwright Holly Arsenault, Undo, is being presented at Annex Theatre and it fancifully creates a ceremony for divorce that seems so plausible, people think it's real! How? Partly because the play focuses on two Jewish families blended in marriage and many don't know real Jewish custom from fake, but also because the ceremony of 'Undoing' is such a reasonable way of sanctifying the act of divorce that it's attractive to imagine it really happens.

To Undo a marriage, one must recreate the wedding day in virtually exact detail, including wearing the same underwear, as Joan (Barbara Lindsay) wails to her daughter, Rachel (Sydney Andrews), who cooperates with the ceremony because her almost-ex, Joe (Ashton Hyman) believes in it. Both sides of the family participate, even though Joe's mom was buried just two days earlier!

Abe (Mark Waldstein in a heart-tugging role of widower and father of the groom) explains to Rachel's teen sister (Samantha Leeds, a lovely actor who can still play a realistic young teen) that he's both grieving and relieved after a long illness that took his wife in tiny pieces. But Abe might have a secret that could revive his future with Rachel's aunt Adine (Marty Mukhalian).

Rachel has a Lesbian sister (Jillian Vashro) who brings a new love (Amy Hill), who has to stay outside because she wasn't at the wedding, while best man Ari (Nick Edwards) has to bring an old flame (Zoey Cane Belyea), because she was.

BELIEVABLE BREAKUP
Much of the detail unfolds slowly - some in funnier moments, others more contemplative, and a few in scenes between the divorcing couple. Andrews and Hyman do a great job of breaking up on stage, demonstrating the frustrations with misunderstandings and the care they used to have for one another. Sister Naomi gets to describe the reasons for a ceremony like this (a test of the couple's desire to divorce by having them repeat aspects of their wedding, such as the first dance, kissing, etc.). She is the holder of the sanctity of the occasion.

While the play could be trimmed in length, with some superfluous moments let go, there is tremendous strength in the writing. The dialogue is realistic and the relationships ring true. Some of the back-story reasons for the break-up are still a bit weak, but easily fixable. The cast is extremely likable, making the audience root for everybody (there aren't any 'bad guys').

Director Erin Kraft manages the rhythm and interaction well with the help of clean, unfussy costuming by Doreen Sayegh, great music choices by sound designer Kyle Thompson, and lighting by Michael Chinn. Set design by Catherine Cornell makes creative use of the small Annex stage for this play, which calls for a number of locations.

Overall, Undo is a lovely experience and has the potential to proliferate or even shift form in the future. Who knows, we might even have people wanting to develop an Undoing ceremony for themselves. For more information, go to www.annextheatre.org or call (206) 728-0933.

Discuss your opinions with sgncritic@gmail.com or go to www.facebook.com/SeattleTheaterWriters.

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