STAGE REVIEW : There’s No Artificial Sweetener in ‘The Real Thing’ : UC Irvine’s comedy production deals with the thrills and chills of human relations, but avoids falling into the trap of banality.

“The Real Thing” is certainly Tom Stoppard’s most personal play, and maybe his most affecting.

Its ambition is to identify the commonplaces of the heart, of love, and to do so in ways that hold banality at arm’s length.

“The Real Thing,” now given a valuable staging at UC Irvine, is a comedy with soul. At its revelatory best, it brings into focus the absolute thrill and absolute terror of deep human relations.

You can forgive “The Real Thing” its small conceits--Stoppard’s sometimes-overindulgent witty word-play, the not-always-deft plotting tricks--and get something from it on a basic level.

Shortly after the play-within-a-play opening of “The Real Thing,” we’re introduced to Henry (Peter Massey) and Annie (Holly Holsinger), who become the axis of Stoppard’s examination. He’s a popular and sometimes-brilliant writer, she’s a popular and sometimes-idealistic actress. They’re both married to other people, Charlotte (Ann Hamilton) and Max (Thomas Redding), but have just started an affair that threatens to burn their houses down.

Stoppard reveals the complexity of these people in glittering, gabby ways that bring to mind Noel Coward on one of his more cerebral days. This foursome is as clever and interesting and self-involved as they come. But the smart talk and jaunty jokes are almost a cover for what Stoppard’s getting at.

Later, after Henry and Annie discard Max and Charlotte and get married, Annie has an affair with a younger actor, and they both try to absorb the meaning of their love, to come to terms with “the real thing” of their feelings for each other. From here especially, Stoppard’s forceful intelligence takes over.

Director Keith Fowler lets the play move at its own deliberate pace, not pushing the key conflicts or hurrying Stoppard’s often-brilliant dialogue. He gives everything time to sink in.

His expressive cast also refuses to rush, which allows you to appreciate their personalities. The UCI production has a naturalistic feel that emphasizes the play’s small-frame story and intimate ideas.

Both Massey and Holsinger are strong in what must be very difficult roles for students, even graduate students. Massey is expected to show Henry’s goodness and intellect, fear and pretension, and he is able to evoke those sides of the character. And as Annie, the lovely, impulsive, bright and contradictory muse to all men, Holsinger is formidable and attractive.

Fowler does make a mistake with the overarching use of music to set moods and lead in scenes. To be sure, pop tunes serve as one of the play’s most prevalent symbols (Henry would rather hear Herman’s Hermits than Bach, a fact that embarrasses his yearning for cultural superiority), but it’s too flagrant here.

No complaints, though, with Jeff Hall’s outstanding sets, which look great and also help to block the scenes nicely. Merritt S. Crosby’s lighting was uneven, at times a steady complement to the play, almost garish at others.

‘THE REAL THING’

A UC Irvine production of Tom Stoppard’s play. Directed by Keith Fowler. With Thomas Redding, Ann Hamilton, Peter Massey, Holly Holsinger, Benjamin Davidson, Kei Young and Henry Martin Leyva. Sets by Jeff Hall. Lighting by Merritt S. Crosby. Costumes by Richard Triplett. Plays Tuesday through Saturday at 8 p.m. with a Saturday matinee at 2 p.m. at the Mainstage on campus. Tickets: $10 to $14. (714) 856-6616 and (714) 856-5000.