The Book of Liz is quite entertaining, totally eccentric, and takes a little getting used to. Before us is a light-blue meeting room, sterile in its simplicity. Across the back wall is a row of hat pegs. Several hats are hanging, also in the same pale blue. There is a door in each of the side walls. This is the meeting room of a religious group, the women dressing plainly in black and blues that match the walls. Bearded men are clad in simple black and white. The group does not believe in any advanced creature comforts such as cars or electricity. On the walls are projected writings in almost readable script.
David and Amy Sedaris's The Book of Liz is the tale of Sister Elizabeth Dunderstock (Annie Hinton), who leaves the rural confines of the group to go to the big city. Well, at least they do have a restaurant -- a chain restaurant. Annie Hinton portrays Liz with sensitivity as Liz encounters a culture totally unlike hers. She happily becomes a waitress. Soon a promotion is offered in this Pilgrim-helmed beanery. Alas, she now encounters conflict between her convictions and contemporary societal demands.
Sean Murray's talented cast includes Melissa Fernandes in four roles, Michael Grant Hall in three and David McBean in five. The trio open the show as fellow parishioners Sister Butterworth, Reverend Tollhouse, and, new to the congregation, Brother Brightbee, respectively. Sister Dunderstock, a talented cheeseball maker, suffers from extreme perspiration. While tolerable within her closed-society, it becomes a problem in her job at the restaurant.
Hall, who is a commanding presence on the stage, is both the leader of the religious group and the restaurant manager, trading one black-and-white costume for another. Fernandes moves easily from one role to another. First as Sister Butterworth, the waitress, and a doctor. McBean, with five roles, not only moves from one convincing character to another but does some gender changes as well.
Sean Murray's set works well for a variety of locations. Lighting designer Eric Lotze gives each location a special look. Bonnie Durban's properties easily define the varied locations. M. Scott Grabau's sound design proves varied and interesting. Shelly Williams' costumes that work well for the various venues as well as in defining each character.
