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‘Garden’ at the Coast Playhouse; ‘Lu/Lou’ at the Lex Theatre; ‘Hush, Little Baby’ at the Gypsy; ‘8th Race at Belmont’ at Al’s Bar

Things aren’t what they’re cracked up to be at this spiritual commune in northern Scotland. Meditation is minimal, the lectures are artsy-craftsy and the members decidedly dilettantes. According to Jim Macak’s “Garden” at the Coast Playhouse, they’re less interested in exploring their own psyches than each other’s libidos.

Macak doesn’t answer any questions about this particular life style and doesn’t seem interested in so doing. What does concern him are the Ayckbournesque mating rituals of the inhabitants of Lochmond House (a guest shelter just outside the commune), all in varying stages of commitment to the “Foundation.”

The center of most of this activity is the house garden, though Dan Burk’s finely wrought set also includes the kitchen where the romantic knots tied in the garden are untied over breakfast (all beautifully lit by Michael Gilliam).

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Even without much insight into the psychic working of the commune, Macak’s examination of a few of the types drawn to its ministrations is a delight.

Director Dan Stone knows his randy comedy, and when to give it more depth, and he treats his bed hoppers with affection.

Particularly effective in an excellent cast are Price Marshall, a charmer as the manager of Lochmond House, and Matthew Jones, sensitive and honest as the local boy who tries too hard to win her favors. Andrea Aal also makes a strong impression as an American wife whose marriage is on the rocks and who finds solace with a volatile Irishman.

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At 8325 Santa Monica Blvd., Hollywood, today and Sunday, 8 p.m., Saturday, 7 and 10 p.m. Ends Sunday. Tickets: $17.50; (213) 650-8507.

‘Lu/Lou’

The world-premiere production of Anna Nicholas’ “Lu/Lou” at the Lex Theatre sets out on an interesting inquiry into a rarely discussed subject: the sexual fascination young women find in horses. Is this a female “Equus?” Or “National Velvet” for the ‘80s? It can’t make up its mind.

Even under Dorothy Lyman’s spicy, lucid direction, most of “Lu/Lou” is sitcom bouncing back and forth between its various possibilities. It could be a strong drama about the sexual problems Lu’s equestrian inclinations cause in her marriage to Lou (an excellent performance by Patrick St. Esprit). Or it could be a ‘70s rite of passage comedy about Lu’s attempts to subvert her proclivity with handsome, horny strangers (an uninteresting performance by Kevin Light).

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There are also a Christopher Durang-inspired confrontation with a cartoonish psychiatrist (an overblown Elaine Hausman) and a Wendy Wasserstein-styled girlfriend/confidante (a delightful Jana Marie Hupp).

Playwright Nicholas also appears to good effect as the heroine trying to find her way out of the stall, but she hasn’t found a strong focus for her play. It wanders, and its fast gallop doesn’t conceal its missteps.

At 6760 Lexington Ave., Hollywood, Thursdays through Saturdays, 8 p.m., Sundays, 7:30 p.m. Ends Dec. 16. Tickets: $12.50-$15.00; (213) 466-1767.

‘Hush, Little Baby’

Craig Sodaro’s “Hush, Little Baby” mentions another subject that used to be taboo but has catapulted into prominence on stage: child abuse. But the play only mentions it. The story is really about a shattered relationship between a mother and daughter and their attempts to mend the wounds.

Alice has been in prison since she was 16, five years ago. The charge was felony child abuse. She almost killed her infant son. Mother Mona, a waitress, has never forgiven her and wants Alice out of her life. She also blames Alice’s playing with matches as a child for the fire that killed Alice’s father and sister. Tragedy overkill is one of the play’s problems.

The other problem is its tone. There is no emotional shape to the writing. The action rides on one note from the beginning to the pat, illogical and too-sudden happy ending.

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Laurel Adams’ direction hasn’t done anything to vary the sameness. She allows her actors to float along on the dictates of the script instead of finding shading and contrast along the way.

The good performances of Michelle Yahn as Alice and Nancy Chris Evans as Mona are done a disservice by this production at the Gypsy Playhouse. Even with its problems as a play, “Hush, Little Baby” could have been made more dramatically viable as a production.

At 3321 W. Olive Ave., Burbank, Fridays and Saturdays, 8 p.m., Sundays, 3 p.m., through Dec. 17. Tickets: $10; (818) 954-9858 ‘8th Race at Belmont’

John Buchman’s “8th Race at Belmont” is a 35-minute drudgery about the last match race held in this country, between Ruffian and Foolish Pleasure on July 6, 1975. Its only interest lies in which horse wins, and that’s history.

The play itself, directed at Al’s Bar by Ray Cecire as though it were a first read-through, doesn’t get out of the starting gate.

The overacting involves a quintet of stereotypes, including a “holistic psychiatrist” with a thick German accent who is a “special adviser to the World Health Organization on peanut butter.”

There’s better drama than that at the ticket window.

At 305 S. Hewitt St., Tuesdays and Wednesdays, 8 p.m., through Dec. 13. Tickets: $5; (818) 953-9338 or (818) 761-9954.

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