Humor spread thin in new 'Basement'

Lutheran coffee is famously weak, but even the faithful recognize when the grounds have been re-used once too often. This seems most certainly true with "Away in the Basement," the third iteration of a fabulously popular franchise built by Troupe America. The jokes have lost their savor. The sense of purpose and soul have gone awry.

Now playing at Plymouth Playhouse, "Away in the Basement" finds the Church Basement Ladies preparing for the 1959 Sunday school Christmas program at their fictional rural church. Several small tempests arise in Greta Grosch's script and each is quickly tamped down. At 15, Beverly Engelson (Tara Borman) feels she's too grown-up to play Mary in a kids' program. Crisis averted after she joins in singing "(Everybody Is a Kid Again) At Christmastime." With the box of costumes reeking of mothballs and lutefisk, the ladies wonder whether ham would leave less stinky residue after the annual smorgasbord. No, that would break tradition. Were the shepherds "sore afraid" or "so afraid"? (Depends on whether you use the new Bible or the "real Bible.") Lastly, these diehard midcentury Lutherans display an eyebrow-raising 21st-century sensibility in discussing Mary's role in church theology. Hmmm. Interesting.

Small moments such as these felt fresh and somehow important as we considered previous "Church Basement Ladies" shows. The church's comfort and community -- its life -- meant something to the women. In this production, directed by Curt Wollan, the vignettes ring hollow. Organic warmth is replaced by contrived heat. Drew Jansen's songs are tuneful, but doo-wop and salsa don't fit the characters. The second act, particularly, lapses into a vaudeville of trivial and disconnected skits.

Perhaps that's thinking too hard, but for comedy to endure, it must touch people with something deeper than formula. "Church Basement Ladies (I and II)" succeeded because we cared about the characters.

Actor Robbie Mancina has the unenviable task of replacing a legend, Janet Paone, in Wollan's cast. Mancina's Vivian Snustad is merely a curmudgeon, whereas Paone created an archetype. Grosch is still the best thing onstage -- a murmur of recognition ripples through the audience when she enters as Mavis Gilmerson. Tim Drake has the perfect face and manner for the pastor. Dorian Chalmers and Borman do convincing work as mother and daughter.

It's hard to argue that all this analysis matters. "Away in the Basement" is nearly sold out at 13 shows a week through December. Still, it's nice to aspire to something higher.

Graydon Royce • 612-673-7299