On Theater: ‘Sisters Rosensweig’ tackles women's and topical issues

By Tom Titus

May 17, 2018 3 PM PT

You don’t necessarily need to be Jewish, female, intellectual or hail from New York City to appreciate the offbeat humor of Wendy Wasserstein’s “The Sisters Rosensweig,” but it certainly would help on all four counts.

South Coast Repertory has chosen this 1992 award winner as the closer of its season and it’s an interesting, if not compelling, selection. Many of its issues seem to be resurfacing today, a quarter of a century later.

Wasserstein’s heroines are three middle-aged Jewish siblings, two of whom have flown to London to celebrate the 54th birthday of the third, Sara, a banking executive who’s made a nice life for herself across the pond. These are Pfeni (spelling intentional), a globetrotting travel journalist, and Gorgeous (her actual name), a pseudo-psychologist who hosts a radio advice program.

Under the fine-tuned direction of Casey Stangl, the sisters toss around the various turmoils of the day, primarily those of their Hebrew heritage, while love walks in, and out, for the two single ladies as well as Sara’s activist young daughter, bound for the Balkans.

Amy Aquino’s Sara is the heart of the production, a wise, sharp-tongued feminist who’s still not above an occasional, if abbreviated, fling. Aquino displays razor-sharp delivery as she spars verbally with the furrier who’s fallen for her (Matthew Arkin in an impressive performance).

As the travel writer reluctant to stay put long enough to commit herself, Betsy Brandt is the most likable of the trio, a beauty with the heart of an activist. She’s linked with a bisexual theater director, energetically played by Bill Brochtrup, who vows his love for her but “misses men.”

The Gorgeous one (Eleanor Reissa) flutters about the scene coining new words, like “funsy,” and proving an all-around irritation. Sara’s grown daughter, Tess, is thoughtfully interpreted by Emily James, who supplies more than the role demands.

Two other performers — Riley Neldam as Tess’ Cockney swain and Julian Stone as Sara’s occasional love interest — appear briefly and are atmospherically effective.

The soaring set design of John Iacovelli makes Sara’s modest digs resemble Buckingham Palace. Early-’90s costumes by Denitsa Bliznakova and Elizabeth Harper’s bright lighting effects abet the show’s handsome backdrop.

“The Sisters Rosensweig” is one of those plays that amuses and entertains by reaching the heart as well as the funny bone, while modestly affecting each as it takes aim on the intellect.