BY: Robert Jowaiszas
“Smart, funny crowd-pleaser “
Perfect Arrangement, presented at Elmwood Playhouse, begins in the polished world of 1950s domestic perfection. Before the first scene, a television screen above the stage evokes The Honeymooners, signaling an era of tidy marriages, fixed roles, and comforting routines. Elmwood reinforces that frame by staging the production like a classic television sitcom: scenes land almost as self-contained “episodes,” with visible set resets performed in full view. Early on it plays for laughs; as the story deepens, the format quietly underscores how much effort it takes to keep appearances intact.
Set in 1950s Washington, D.C., the play follows two married couples sharing an apartment which is respectable on the outside, carefully arranged within. The marriages themselves are part of the cover. The two women are a couple, as are the two men, trying to survive in a time when being openly gay could cost jobs, reputations, and safety. The stakes rise further because several characters work for the federal government, while others hold positions tied closely to public trust, placing every part of their private lives under quiet but constant threat.
Daily life becomes a performance built on precision, routine, and silence. Characters frequently exit through a closet, a quiet but unmistakable reminder that even leaving the room often means returning to hiding – socially, professionally, and emotionally.
Millie Martindale is the emotional center of the play, and Elinor Greenway gives her a grounded, deeply human presence. Through Millie, the audience feels the cost of concealment most sharply love, fear, resolve, and vulnerability held in careful balance as the arrangement begins to crack. Opposite her, Norma Baxter, played with strength and confidence by Rena Gavigan, carries the added pressure of federal employment; Gavigan brings steadiness and clarity that anchors the relationship even as outside pressure mounts.
On the other side of the arrangement, Bob Martindale and Jim Baxter show two different survival instincts. Steve Bermack plays Bob, a federal employee with controlled restraint and an instinct for caution, while Dylan Coonrad plays Jim, a teacher with a more restless vulnerability that hints at what constant self-editing costs over time. Their contrast makes the later emotional turns feel earned rather than announced.
What truly unsettles the “perfect arrangement” is not suspicion but memory. Barbara Grant, played with calm confidence by Michelle Concha, carries unresolved history with Millie, and Concha’s assured presence makes that tension quietly powerful without ever being overstated.
The wider social world adds pressure in more public-facing ways. Elizabeth Mayer brings to Kitty Sunderson a lively mix of humor and unease, while Paul Flipse plays Theodore Sunderson with a firm sense of propriety that reflects the era’s expectations and its judgments.
Director Paul Russo trusts the material, allowing the story’s humor and tension to unfold without forcing its message. Russo clearly worked closely with not only the cast but the crew as well. This collaboration is anchored by Donna Buckalter’s set design, which serves as the foundation of the production. In Elmwood’s intimate space, the apartment feels lived-in and enclosing at the same time, drawing the audience into the characters’ world. Lighting by Deanna Koski, costumes by Janet Fenton, and props by Rich Ciero quietly reinforce the period without distraction, with smooth transitions guided by stage manager Nancy Logan and assistant stage manager Sarah Kohout.
Laughter came easily in the early scenes, sparked by quick timing and the production’s sitcom-style rhythm, but gradually softened as the story deepened. By the final moments, the room felt quieter and more reflective, and the emotional weight of the characters’ choices was clearly felt.
After the closing scene, a symbol of pride appears onstage through thoughtful, professional lighting, reflecting Elmwood Playhouse’s commitment to creating a space where stories of identity and honesty are treated with care and respect. When the lights went out, the response was immediate a sustained, well-deserved standing ovation that acknowledged both the performances and the emotional journey the production had taken its audience on.
Perfect Arrangement plays at Elmwood Playhouse from January 16 through February 7.