An Obvious, Familiar Feeling From ‘The Kiss at City Hall’

From the co-author of “I Love You, You’re Perfect, Now Change” comes “I’m Ambivalent, You’re a Cliche, Now Change the Channel.”

Tony can’t commit to Julie. Tony’s roommate, Dave, recently started going out with Phoenix, who may be pregnant. With these complications, which could politely be described as “familiar,” prolific Joe DiPietro has made an aggravating comedy seemingly untouched by human hands, titled “The Kiss at City Hall.”

An earlier DiPietro comedy, “Over the River and Through the Woods,” squeaky-clean and not without charm, made its West Coast premiere Friday at the new El Portal Center for the Arts. The new one, now getting a better staging than it deserves at the Pasadena Playhouse, finds DiPietro trafficking in some self-conscious “dirty” talk--rarely has the f-word sounded so dorky--in the service of “adult” “relationship” “issues.” The results put the “obvious” in “obvious.”

It’s called “The Kiss at City Hall” because its characters keep offering their insights regarding the famous Robert Doisneau photograph. Doisneau’s endlessly reproduced and commercialized image promises the sort of ineffable romance DiPietro’s characters yearn for in their own lives. They may as well be discussing the “If you love something, set it free” poster, or something with kitties.

Manhattan carpenter Tony (Brian Cousins) lives with self-absorbed actor Dave (Paul Provenza). Tony’s four-year lover, marketing exec Julie (Robin Riker), wants to solidify their relationship. Meantime, as we learn in dialogue that wouldn’t really be spoken in front of another couple, Dave’s new girlfriend, schoolteacher Phoenix (Sybyl Walker), learns she’s pregnant. What to do?

Talk of abortions past, infidelity and specters of old loves shadowing new ones lends a veneer of seriousness to “The Kiss at City Hall.” DiPietro’s penchant for talking points in the guise of characters doesn’t do much for either the drama or the comedy. Some lines sound like cues for numbers that didn’t make the final cut in “I Love You, You’re Perfect, Now Change.”

“Romance--do you think it’s dead?” Woman asks Man. Insert ballad here. Later: “Here I am, sweetheart--touchy-feely man! Uncensored! Unleashed! You wanted my emotional baggage, you got my emotional baggage! Now give me a hug or get the hell outta my way!” Aaaaaaaand cue the up-tempo piano accompaniment!

DiPietro asks us to find Tony and Dave neurotic but charmingly so, insofar as the female characters must do the same. In the end, though, they’re a couple of bland arrested-development cases, given to audience-goading moments of high panic--DiPietro seems to be writing directly for “New Monologues for Men.” The fifth character is an Italian cleaning lady (Magda Harout) who breaks stuff. She’s a running gag operating on less than one gag.

Director Joel Bishoff has worked plenty with DiPietro and has learned a thing or two about selling, successfully, his brand of commercial comedy. Though Provenza works harder than necessary, he’s a skilled part of a skilled ensemble. The show’s complemented handsomely by attractive designs up and down, particularly by Richard Hoover’s mouth-watering Manhattan loft apartment setting.

At one point Tony listens to his favorite singer, Karen Carpenter, and tells his cleaning lady: “She’s not afraid to be honest, or blatantly sentimental, or gooey. I mean, in this modern age, didn’t she know she should be more cynical?” DiPietro’s manifesto is clear. He is a man unafraid of goo. Goo is a start. Fresh jokes and a little character complexity would’ve been a good start, too.

* “The Kiss at City Hall,” Pasadena Playhouse, 39 S. El Molino Ave., Pasadena. Tuesdays-Fridays, 8 p.m.; Saturdays, 5 and 9 p.m.; Sundays, 2 and 7 p.m. Ends Feb. 20. $13.50 to $42.50. (800) 233-3123. Running time: 2 hours, 20 minutes.

Robin Riker: Julie

Brian Cousins: Tony

Paul Provenza: Dave

Sybyl Walker: Phoenix

Magda Harout: Mrs. Valentini

Written by Joe DiPietro. Directed by Joel Bishoff. Set by Richard Hoover. Costumes by Karyl Newman. Lighting by Neil Peter Jampolis. Sound by Francois Bergeron. Projections by Dante Cardone. Production stage manager Jill Johnson Gold.