STAGE REVIEW : ‘Eleemosynary’ Delivers Faint Look at Generational Tensions

“Eleemosynary,” the obscure title of Lee Blessing’s play about three generations of women, means charitable , and at its heart is an undeniable benevolence.

But good intentions do not necessarily make for a persuasive theatrical experience. “Eleemosynary,” while notable for its flashes of dry humor mixed with humanism, is such a slight piece it’s almost faint.

The Stop-Gap production at South Coast Repertory is tight, thanks to Don R. Laffoon’s even direction, and the cast is capable. However, even the colorful energies of Arlene Bradley as the eccentric grandmother and the animations (sometimes excessively so) of Kymberli J. Kircher as the granddaughter fail to bring this to full life. There’s a pulse, but not enough body heat.

Of course, Blessing, a first-rate writer probably best known for his “A Walk in the Woods,” is aiming for low-key and low-tempo conflict here, but the problem is in getting thoroughly involved in the domestic dynamic at hand. It would help if we felt more intimate, more knowledgeable about the relationship of Echo (Kircher) with her mother (Elizabeth Reilly) and why their rift has grown to that extent.

Blessing’s story follows the rough path that Dorothea (Bradley) and daughter Artie (Reilly) follow as they fight over many of the usual problems faced by parent and child. Dorothea is an expansive thinker with leanings toward the impractical. She tries to get Artie involved with her schemes--one of the play’s centerpieces is a flying experiment using wings built in the barn--and Artie is always nonplussed by her mother’s bent enthusiasms.

Dorothea’s curiosity, though, is passed on to Artie, who becomes a scientist. Apparently, her uneven sense of responsibility also is hereditary, for she abandons Echo to her mother, an act we’re not prepared for nor fully understand. Dorothea raises Echo, and much of the drama’s muted tension centers on the reconciliation between Echo and Artie, Artie and Dorothea.

During its most effective moments at Saturday’s opening night, “Eleemosynary” gave something of an idea of what motivates these women and showed hints of their character, like when Echo passionately practiced for a big spelling bee (the play’s title is a word she may be asked to spell) or when Dorothea buzzed off on one of her tangents. There aren’t enough of these revelations, though.

Bradley almost carries the day with her vaguely manic performance, and Kircher, although in the nearly impossible position of having to act like a child, does give us a notion of Echo’s self-involvement developed for self-protection. As Artie, Reilly is recessive, which doesn’t help in bringing the character into sharper focus.

‘ELEEMOSYNARY’

A Stop-Gap production of Lee Blessing’s play. Directed by Don R. Laffoon. With Kymberli J. Kircher, Elizabeth Reilly and Arlene Bradley. Set and costumes by Victoria Bryan. Lighting by Patrick Brien. Sound by David Edwards. Plays Thursday through Sunday and July 12 through 14 at 8:30 p.m. at South Coast Repertory’s Second Stage, 655 Town Center Drive, Costa Mesa. Tickets: $10 and $12. (714) 957-4033.