By Cynthia Citron
SANTA MONICA, California –You might think that The Tragedy of the Commons deals with some sort of disaster that befalls Mr. and Mrs. Commons. But no, the commons referred to here is that pristine public park set aside in a newly established village for the enjoyment of its inhabitants. Early on, however,
the community historically viewed it as a splendid place for their cattle to graze, and the cattle eventually destroyed the carefully planned space.
In Stephen Metcalfe’s play, The Tragedy of the Commons, now having its Los Angeles premiere at Santa Monica’s Ruskin Group Theatre, the “Commons”
becomes a metaphor for the environment that is currently undergoing various disasters perpetrated by today’s cavalier global villagers.
Such a disaster is about to befall Dakin Adams (Brian Kerwin) and his wife Macy (Leslie Hicks), who have been living happily in their hillside home for some 30 years. Their enjoyment of their home stems mainly from its spectacular view of the surrounding forest and some vague, unspecified ocean.
Suddenly, however, the long-time neighbor whose house lies just below theirs on the hillside announces that he is going to sell his property. Which
propels Dakin into a frenzy that the new owner will “build upward,” adding height to the low-lying house and obstructing the view. Very quickly, the view is transformed from a source of pleasure to an obsession, and finally, to a cause celebre.
“The view is a part of us. It’s who we are,” he tells his wife. But while he obsesses, she accepts the inevitable and even—horrors!—suggests they might sell their house and move.
Dakin, a retired history teacher, fills his time compiling columns of random pithy thoughts called “Notes from Zone 3.” He is abetted in this mostly
cynical task by his son Spencer (Lane Compton), who appears from time to time, preceded by a burst of music that indicates his mood, to badger and deride his
father. Spencer puts “words in his (Dakin’s) head” as Dakin mourns “the decline of America from the 1960s to 2001.”
“If you’re rich, it means you’re smart,” Spencer tells his father. And the dialogue contains a comparison between “affluence and effluence” in a
throw-away environment. Spencer also expresses contempt for people he calls “12 o’clock flashers”—those Luddites who don’t, or can’t, set their electronic devices to the correct time.
Eventually the neighbor’s house is bought by a real estate developer, Dan Gerard (Josh Drennen, substituting for Jeffrey Stubblefield), who stops by to tell Dakin that he will indeed be “building upward.” In a brief extraneous exchange, Gerard acknowledges that he is gay, and when Dakin responds, “You
don’t look like it,” Gerard asks, “Is that a compliment or a stereotype?”
There are many such clever asides in this engrossing play. And the principals are deftly directed by director Dave Florek. Brian Kerwin is particularly fine as the beleaguered Dakin, as are Leslie Hicks as Macy and Edward Edwards as the prissy neighbor. The Adams’ lawyer-daughter (Austin Highsmith, alternating with Rachel Noll) is also good, but Compton plays Spencer as a one-note, stiff and smarmy tormentor, harassing his father to no discernible end.
Further, while Gerard, the real estate developer compliments Dakin on the “understated elegance” of his home and property, set designer Cliff Wagner has not met that mark. The set is dowdy, and almost tacky. Nothing “elegant” about it.
These last are minor matters, however, in an intelligent and well-performed production—something you can always count on at the excellent Ruskin Group Theatre.
The Tragedy of the Commons will run Fridays and Saturdays at 8 p.m. and Sundays at 2 through November 6th.
The Ruskin Group Theatre is located at 3000 Airport Road in Santa Monica. Call (310) 397-3244 for reservations.
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Citron is Los Angeles bureau chief for San Diego Jewish World. She may be contacted at cynthia.citron@sdjewishworld.com