Liz Hayes and Bobbie Steinbach

The performance of IRNE and Elliot Norton Awards recipient and veteran trouper Steinbach is not to be missed. Although it is still quite early in the theatre season, I expect to look back upon her star turn as one of the major highlights of the year. She conducts a master class, inhabiting the role of Ruth Steiner, who just happens to be teaching a master class herself to her young protégé. In every moment, Steinbach is totally natural and seamless, as if she is simply being herself. Her capable portrayal of Ruth as irascible and sometimes painfully direct in early scenes segues into a deeper, more maternal vibe when she experiences pride in her student's accomplishments. As their bond develops into friendship, Steinbach shows girlish excitement, her eyes flashing while she shares reminiscences about her youth and a secret romance. Ultimately, Ruth comes full circle to a place of heartbreaking loss and vulnerability, and Steinbach seems to physically shrink into a shadow of the woman she was at the start of the play.

Making her debut appearance on the Charles Mosesian stage, IRNE and Elliot Norton Awards nominee Hayes is a fine local actress who nonchalantly applies layers of maturity to her character as Lisa Morrison grows and changes from fresh, young coed to burgeoning literary star. Aided by external trappings of hairstyle and fashion updates, she leaves behind the nervous, clumsy, star-struck girl who worships at the altar of Ruth Steiner, gaining confidence and mastery as she becomes her own person. Hayes even appears taller next to a shrunken, ailing Steiner (partially credit high-heeled pumps in place of flats or boots) as the power shift between mentor and mentee reaches its pinnacle. Although we see some of the acting in Hayes' portrayal, she and Steinbach are a well-matched pair whose onstage chemistry goes hand in glove with that of Lisa and Ruth.

The title Collected Stories refers to both the published works of each of the characters, as well as to all of the stories that add up to a life for each of them. Margulies merges the two to question whether or not we own our own story, or if it belongs to the public domain; to raise issues of privacy and establishment of boundaries; to explore the impact of trust and betrayal on the dynamics of their relationship. Setting the play on Ruth's home turf in her apartment in Greenwich Village and the literary/academic world she inhabits gives her all the power at the outset. Lisa brings only her raw talent and dreams to the table, but Ruth cannot resist the opportunity to etch upon her clean slate, to "touch the future," as the late Christa McAuliffe once said. For her part, the student has immense gratitude to be able to breathe the same air, to occupy the same space as the master artist and jumps at the chance to become her assistant. Ruth and Lisa both have their needs fulfilled by this arrangement, but their needs change as the years pass. The balance of power shifts imperceptibly until great harm is done to the relationship and the emotional damage is irreparable.

Scenic Designer Jenna McFarland Lord and Properties Designer Joe Stallone collaborate to convey a wealth of information about the way Ruth lives in her walk-up flat. An entire wall is floor to ceiling book shelves, laden with volumes by renowned authors and poets; an exposed brick wall shows her collected works of art, including a Matisse print mentioned in one of Ruth's stories. Her work space is a repository of managed clutter, a desk phone from the last century, and a manual typewriter. She has a well-worn leather couch with a throw draped over the back, several toss pillows, a club chair with a hassock, and stacks of books and magazines everywhere. Deb Sullivan makes good use of a large bank of windows to bring in slants of light that warm the room. With all the comforts of this home, it is understandable that Ruth claims she doesn't go out much.

Scene changes are underlined by jazz music, ostensibly coming from a turntable beneath the art wall, and David Reiffel's sound design also includes the ringing phone that Ruth chooses to ignore. There are a few occasions when one of the actresses goes to the "kitchen" in the wings and continues to speak from offstage, resulting in less than ideal conditions for her to be heard clearly. Tyler Kinney costumes Ruth in funky, comfortable big tops, often with a wrap over her shoulders. Lisa's casual styles range from leggings under a peasant blouse to jeans and boots. To indicate her major achievement in the penultimate scene, she wears pointy black high heels and a form-fitting red dress with flounces that is not terribly flattering (but maybe that's the point?).

I am struck by Margulies' incredible insight and ability to get inside the psyches of two women, to imagine the language of their conversations and to choreograph the dance of their evolving relationship and eventual role reversal. When joined together, his remarkable, complex characters add up to more than the sum of their parts. There is a wealth of material to mine from their relationship, but Margulies zeroes in on key moments on the timeline to gradually build to what appears in hindsight to be an inevitable conclusion. As a thought-provoking bonus, the ending leaves open to debate the question of who was at fault for the irreconcilable differences, the playwright refusing to take a side. Nearly a week after seeing Collected Stories I'm still undecided, but I am certain that these characters and their stories will stay with me for a while longer.

Collected Stories through October 30 at New Repertory Theatre at the Arsenal Center for the Arts, Charles Mosesian Theater, 321 Arsenal Street, Watertown, Massachusetts; Box Office 617-923-8487 or www.newrep.org. Written by Donald Margulies, Directed by Bridget Kathleen O'Leary; Scenic Design, Jenna McFarland Lord; Costume Design, Tyler Kinney; Lighting Design, Deb Sullivan; Sound Design, David Reiffel; Properties Design, Joe Stallone; Production Stage Manager, Jayscott Crosley

Cast: Liz Hayes (Lisa Morrison), Bobbie Steinbach (Ruth Steiner)

Photo: Andrew Brilliant/Brilliant Pictures