First of all, she attracted the absolute perfect cast. As Mel Edison, the fired advertising account executive, David Cunningham spirals out of control with anxiety (“nervous breakdown” they called it in the 1970s) without going overboard into a mania that is difficult to watch.

Then there is Erin Lamb, who plays Mel’s wife, Edna, who keeps him in check without being bitchy and doesn’t merely tell him she loves him and believes in him, but puts it all into action. I’ve seen Lamb’s work several times over the years, and she’s not one who overexposes herself for just any role. I found out after the show, she almost didn’t take this one. Thank goodness she did, for this is, without question, her tour de force performance.

It would have been easy to play this couple as an angry twosome, but Steurer stepped away from delivering a comedic version of “Who’s Afraid of Virginia Woolf?” and that, plus the amazing chemistry between Cunningham and Lamb, is what makes this story successful. Sure, Mel and Edna yell – they are New Yorkers, after all – but it’s only at the neighbors and never at each other.

Through Steurer’s directing, you are reassured from the beginning that Mel and Edna are going to be OK, so it’s fun to sit back and take a few notes from them on how to communicate even during the most difficult, frustrating of times. This isn’t a play about unemployment or the economy; it’s a play about committed love, and Simon is one of the best playwrights out there when it comes to that.

Equally phenomenal, believable and hilarious in their roles are David Hillman, Audrey Jean, Iris Bracey and Marcia Perlstein as Mel’s siblings, who come to visit their baby brother and sister-in-law to assess the situation and offer help. For many, this will be the favorite scene in the entire script.

Burt Howells and Brian Gilbert top off the cast, playing newscasters who keep the audience amused during set changes.

Steurer also brought in set designer Terry Tennesen and costume designer Dessa McFadin, who are both new to KCPT’s ever-increasing artistic depth. These two were wildly successful in capturing ’70s polyester couture and building a Manhattan apartment complete with a midget-sized kitchen – for the best view, be sure to sit as close to the outside wall of the house as possible. After the show, feel free to ask the staff for a closer look at the macramé plant hangers, Trimline dial telephone and assorted 1970s bestsellers on the bookcase (made by Ian Keith) and other props. The Rheingold beer bottle (New York’s version of Rainier beer) was the pinnacle of this production’s attention to detail.

Mazel tov!

Key City Playhouse is located at 419 Washington St. Curtain times are Fridays and Saturdays at 8 p.m.; Thursdays and Sundays at 7 p.m. Informal “AfterWords” discussions with members of the cast and artistic staff follow all Thursday performances.

General admission for Fridays and Saturdays is $18; Thursdays and Sundays, $15. Students pay $10 at all shows. A pay-what-you-wish performance, sponsored by the PT Arts Commission, is Thursday, June 24. Rod Schmidt, Psy.D., licensed psychologist, sponsors the production.

Advance tickets for KCPT productions may be purchased in three ways. With cash or check, visit Quimper Sound at 230 Taylor St. With a debit or credit card, call 379-0195. Online, tickets can be purchased on the show calendar at
keycitypublictheatre.org.

For more information, call the KCPT show info line at 385-7396 or visit the website.