Review: Drama Guild’s ‘Social Security’ A Comedy Joy Ride

Like its namesake, the play “Social Security,” by Andrew Bergman, is for those who have been around the block a few times. And the Chatham Drama Guild (CDG) takes it for a great comedic joy ride.

Set in New York City’s Upper East Side in 1985 (cordless phones! mousse of pike with a Pernod sauce!), the plot concerns a well-off middle-aged couple, the wife’s family (which includes a cranky mother), and a famous artist who’s 100 years old. Act One sets up the situation a bit slowly, but fasten your seat belts for Act Two, just not too tightly because you’ll need some slack for belly laughs.

A cast of just six actors, ably directed by Pam Banas and Scott Hamilton, are brilliant in their roles.

Bob Shire and Deb Mahoney play the central couple, David and Barbara Kahn, whose art-filled apartment (they own a gallery) provides the setting for the story. Lizzy Smythe and Todd Cashdollar play Trudy and Martin Heyman, Barbara’s whiny sister and stuffy brother-in-law; Marianna Page Glidden is the demanding Sophie Greengrass; and Bragan Thomas plays the celebrated painter Maurice Koenig. All have significant theater resumes including many roles with the CDG. 

Of special note from theater history is that Glidden studied in New York with the legendary Uta Hagen, whose workshop produced many fine actors of stage and screen, such as Jason Robards, Whoopi Goldberg, Jack Lemmon and Al Pacino. Glidden’s character changes a lot in this story, and she’s definitely up to the challenge, step by step. Literally.

Never seen but crucial to the story is Trudy and Martin’s daughter Sarah, a college student who never seems to be able to come to the dorm phone, whether her helicopter parents call her at 7:30 in the morning, 11:30 at night or 2:30 the next morning. Young children (or easily-offended adults) probably shouldn’t hear the dialogue about why. But that conversation is short and by no means dominates the play.

Hey, it’s not exactly news that college students have sex lives. This story reminds the audience that everybody else, say the ones in their 50s and the ones looking at three figures, have their appetites too, sometimes with surprising results.

Unique to this production is that most of the set is for sale. Some of the art is the work of Michael A. Giaquinto, the former exhibitions curator (2003-2020) for the Cape Cod Museum of Art in Dennis, and who had an exhibition there earlier this year. And as the program notes, “Michael’s artwork and other of the pieces on the set are available for purchase. The furniture is also for sale. For information, please inquire at the bar.” (Oh, did we mention that CDG has a cash bar and that it makes a very good gin and tonic that is served in a real glass?)

The furniture, by the way, includes a white love seat and two chairs, with a transparent cocktail table that’s just perfect for that mousse of pike with a Pernod sauce. There’s also a small bar and a dining set.

All the technical work — and this was on opening night — went off without a hitch, and there were lots of sound effects, with credit to sound designer Don Howell.

This play is one for anyone who’s dealt with a parent, a child, a spouse, a sibling, and/or with one’s own emotional needs — in short for just about anyone who’s been around the block a few times. Even if that block isn’t on the Upper East Side. 

For the rest of this year, the Guild will be offering “Moonlight and Magnolias” by Ron Hutchison on Aug. 21 to Sept. 7; “The Dining Room” by A.R. Gurney Oct. 20 to Nov. 2; and “Little Women,” adapted from Louisa May Alcott by Kevin Cunningham, Nov. 20 to Dec. 7.