Sasha Andreev and Sarah Malfara Photo by Alyssa Kristine Photography

Now comes Sandy Rustin's comedy, The Cottage, and what do you know? Another bull's eye! But this time, it's a play enjoying a burst of popularity, at least judging by Rustin's website, on which production photos from stagings at twenty-one different regional theatre companies across the nation make that case. That doesn't even include the current run at Gremlin, nor the brief run at the Hayes Theatre on Broadway in fall 2023.

What mildly surprises me is that the play didn't stick around longer on Broadway, with a cast that included Eric McCormack ("Will and Grace"), Laura Bell Bundy Hairspray, Legally Blonde), and SNL alum Alex Moffat. Tough as it is to strike gold on Broadway these days, that hasn't stopped Rustin's play from leapfrogging around the country, and happily landing in St. Paul.

The Cottage, which premiered in 2013 at the Astoria Performing Arts Center, takes place in 1923 in a country home, its rustic charm securely in the upscale manner. The cottage belongs to the widow Mrs. Van Kipness. The play opens in the morning with her son Beau in the shower (off stage) while Sylvia, the vivacious blonde with whom he has been having an overnight tryst, in her skivvies and a silky kimono, trying out poses with which to greet Beau and delay his imminent departure to the train station that will carry him to work.

Beau enters in his underwear beneath a velvet smoking robe, and she comes close to succeeding in snaring him. Sylvia admits that it has been frustrating to limit themselves to just one such night of passion a year, for seven years now. But Beau insists that since they are both married to other people, it's best to exercise moderation, lest their affair be discovered.

It is at this juncture that Sylvia admits that her frustration had gotten the better of her, and that while Beau was showering, she sent a telegram to her husband, Clarke, stating that she was leaving him for Beau. Full stop. Oh, and she sent a similar telegram to Beau's wife, Marjorie, as well. Beau had not bargained for this, admonishing Sylvia for acting without his consent. When she reminds him that just last night, he said he liked it when she took charge, Beau drolly replies, "Context, darling."

Before much time elapses, both Clarke and Marjorie (who, it turns out, is eight months pregnant) show up at the cottage door. Tempting as it is, I won't reveal more about the entanglement among these four consenting adults. A bit later, Diedre arrives, a local lass who also figures in the matrix of infidelity, followed by her husband–or is it ex-husband?–Richard.

Rustin's plot is brilliantly constructed to be both wholly implausible and still make sense within a logic of its own. The setting and characters reek of Noël Coward, with dialogue that mixes cocktails of British manners, witty barbs, and stunning surprises. The situation that develops seems fraught, but Rustin resolves it in a manner that opens the door to an early spring of feminism.

While the laughs are not machine-gun rapid fire, they are plentiful enough, with shards of physical comedy mixed in the generously supplied witty retorts and wordplay. Director Brian Balcom keeps the story swiftly moving, though making sure that the audience can catch every word and action that matters. The atmosphere is kept light, a souffle of a play that tantalizes for its two hour (with intermission) running time.

As stated before, Gremlin productions invariably feature outstanding performances, and that is the case with The Cottage. Going in order of their appearance, Sarah Malfara is a jewel as Sylvia, who starts out showing herself as a shallow pleasure seeker, then displays a pouty insolence as her disappointments pile up, until she emerges as a woman of uncommon resolve and self-direction. Sasha Andreev, the versatile actor I last saw as the farm-hand swain Joey in 10,000 Things' Most Happy Fella, is wonderful here as Beau, an urbane swain with the constraints of British manners, who discovers, with some alarm, that he doesn't actually know what will make him happy.

Shana Eisenberg is right on the money as Marjorie, her pregnant belly preceding her. She is a bit of a scold, but surprisingly flexible in accommodating her morals to suit her libido. Eisenberg brazenly acts out a bit concerning a bodily function that has to be both seen and heard to be believed. Corey DiNardo is terrific as Clarke, eager to adapt to the new circumstances that have fallen upon him, while working to hold his own against Beau in demonstrating manly valor. Mira Davis is hilarious as Dierdre, a whirlwind of emotions that never settles in one spot for very long, while Chance Carroll is a delight as Richard, Dierdre's devoted husband with a massive violent streak, who harbors a deep secret of his own.

Carl Schoenborn has designed an appealing set that conveys both the Van Kipness family wealth and the country comforts of the cottage. A. Emily Heaney's costumes bring smashing roaring twenties style to each of the characters. The intimate apparel worn by Sylvia and Beau at the start brings a discreet but undeniable sexiness to the occasion, while the dress that Sylvia–eventually–slips into hits high marks for glamour.

Leslie O'Neil is credited as movement consultant, and there is a short bit of dancing during one free-wheeling moment. Perhaps O'Neil also choreographed the raucous physical comic bits–in either case, it is a job well done. Keely Wolter's dialogue coaching succeeds in having all of the actors consistent and at ease with differentiated English accents.

The surprise at the end of The Cottage is twofold: both in the resolution awaiting each of the characters, and a revelation that explains why Rustin gave the play this particular title. Both are worth the wait–especially since getting to that point is nothing but high-spirited fun, played with brio and framed in excellent stagecraft. I've got to say it, Gremlin once again hits the bull's eye.

The Cottage runs through August 2, 2026, at the Gremlin Theatre, 550 Vandalia Street, St. Paul MN. For tickets and information, please visit gremlintheatre.org.

Playwright: Sandy Rustin; Director: Brian Balcom; Scenic and Light Designer: Carl Schoenborn; Costume Design: A. Emily Heaney; Props Design: Sarah Bauer; Sound Design: Andrew Newman; Movement Consultant: Leslie O'Neil; Dialect Coach: Keely Wolter; Technical Director: Carl Schoenborn; Stage Manager: Kathryn Fritz; Producing Artistic Director: Peter Christian Hansen.

Cast: Sasha Andreev (Beau), Chance Carroll (Richard), Mira Davis (Dierdre), Corey DiNardo (Clarke), Shana Eisenberg (Marjorie), Sarah Malfara (Sylvia).