Paul Slade Smith's theatrical comedy was inspired by a 100-year-old play by Hungarian playwright Ferenc Molnar
At the risk of over-complicating what is otherwise a frothy 1940s farce, Paul Slade Smith’s “The Angel Next Door” is a play within a play within a play.
Furthering this gambit, the hyper-clever Charlotte will stay up all night writing a mini-play designed to untangle the misunderstanding mess that threatens the success of their young protégé novelist, Oliver . Its performance, staged in what has to be the busiest bedroom on the East Coast, will also determine whether the Sanderses get a shot at writing a Broadway hit based on Ollie’s book.
“Angel” is in the intentionally hapless spirit of those two other comedies and like them reliant on broad characters and fast-paced situations that are more than a bit wacky. The business of bringing Oliver and Margot together feels strained over the course of two acts and two hours. It’s such exhausting work for bound-and-determined Charlotte and exasperated Arthur. Fortunately, Robertson and especially Newcomb make these two fun to watch. Quibbling or scheming affectionately, their romance is much more genuine than the contrived Oliver/Margot coupling.