Kellie Overbey, Kevin Kilner and Keith Nobbs (right) reminisce about the not-so-good ole days in a revival of Lanford Wilson’s “Lemon Sky.” (AP)
Time plays a big part in Lanford Wilson’s “Lemon Sky” — but it also hasn’t been kind to the show. When the largely autobiographical piece opened in 1970, it must have felt fresh and daring. Unfortunately, its edge has been blunted by the many variants on the formula — deep, dark secrets coming to the surface; actors directly addressing the audience — that have cropped up since.
In this early effort, the late playwright (“Burn This,” “Fifth of July”) put himself at the center of the action as Alan (Keith Nobbs), the narrator.
Nearing 30, Alan reflects back on when he was 17, in the 1950s, and went to live in San Diego with his rascally father, Douglas (Kevin Kilner) and his new family.
At first, Alan’s happy as a clam: His stepmother, Ronnie (Kellie Overbey), couldn’t be nicer, and he has two gosh-darn cute little stepbrothers. The scenes in which they feature make you realize how rare it is to see non-neurotic domesticity onstage.
But as dozens of plays and movies about seemingly well-adjusted families have told us, shocking revelations are in order, and conflict looms on the horizon.
The blustery Douglas, for instance, is an aging Lothario with an interest in amateur photography. This isn’t a good combination, especially with a pair of troubled foster daughters in the house.
Not that Alan himself is as forthright as he looks.
Our guide is holding back on us — which is sneaky, because in addition to reliving the events, Alan comments on both them and the show.
“You aren’t even alive,” he tells foster girl Carol (Alyssa May Gold). “You’ve been dead 10 years.” Later on, Alan announces, “Now, you see, I think that’s the funniest line in the play.”
And I think that’s a familiar writing trick, even if Wilson’s touch is lighter than most.
Director Jonathan Silverstein and his cast handle the material ably enough, but can’t quite compensate for the pervading feeling of déja vu.
Overbey excels in the role of a likable woman who’s not a sap, and Nobbs — last seen on Broadway as the reporter in “Lombardi” — has a boyish quality that allows him to look equally convincing as an adult and a teen.
But he overdoes the cute-puppy expressions, and doesn’t sell us on the inner turmoil of Alan, who balances warmth with foreshadowing warnings. At least when “Lemon Sky” takes a sudden melodramatic turn, we can’t say we weren’t warned.