Good farce relies on secrets being kept, and complications, lies, and absurdity being added to the mix until the center cannot hold. “The Cottage” on Broadway lacks much of this.
as the gurning, stressed aide to two crooks in Richard Bean’s Sixties-set farce—paced and simmered to comedic boiling point perfectly.is that there is no deferral of secrets, and no long-awaited revelations. It is the least excruciating farce this critic has ever seen, when it is crying out for so much more excruciation.
The comedy? It’s funny that cigarettes appear in the strangest places, lit with just as conveniently and surreally placed matches. Moffat throughout proves to be an adept and winning physical comedian, folding himself into the hiding place of a seat, wielding a broken golf club as an ineffectual weapon, and lighting a cigarette from the hilariously lewd hiding place of the groin of a male statue.
McCormack is best not when he is playing stiff, but leaning into the pratfall hysteria he executed masterfully in the zanier moments of. Cooper can still any dissension, or indeed anything she takes umbrage with , with the hardest of glares.The Cottage’s Bundy becomes a feminism standard-bearer when she realizes—after scooping the cottage in the will of Beau and Clarke’s unseen and deceased mother—that not having a man is the best option for her. This independence elicits into the open air the desire for another kind of independence—from any romantic entanglement with men, given the three on stage have disappointed her.
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