THE VOICE OF CHICAGO'S GAY, LESBIAN, BI, TRANS AND QUEER COMMUNITY SINCE 1985

In the world of philately, a pair of stamps issued by a tiny British colony in 1847 is "the Holy Grail" of the album-and-tweezers set. A Blue Mauritius or a Red Mauritius commands millions at auction and, together, even more. When Jackie—a young woman who knows nothing about stamps—brings a pristine matched pair to a neighborhood philately shop, it initiates a chain of largely unpleasant but entertaining events. First, Jackie and her estranged half-sister, Mary, both claim ownership of the stamps and things get physical. Then, marginal stamp dealer Dennis brokers an off-the-books sale of the stamps to shadowy businessman Sterling, an obsessive philatelist with a vicious streak. Finally, the shop owner, Philip, has his own spoiler agenda in the plot-counterplot tale.

When award-winning playwright Theresa Rebeck is in top form, she's sharp as a tack, which she is about half the time in Mauritius, most notably in the elegantly tense cat-and-mouse game in which Jackie and Sterling—both incendiary personalities—negotiate with each other. As played by Anne Adams and Lance Baker, the Act II scene easily is the highlight of the show, with the threat of explosive confrontation always thisclose.

But Rebeck misses as often as she hits despite a sound premise and intriguing subject matter ( not so much the stamps themselves but the possessiveness and power play they inspire ) . There are several scenes I simply do not believe, although not for lack of solid acting by a veteran cast under director Rick Snyder. When Dennis, whom Jackie barely knows, shows up at her house unannounced, Jackie and Mary and not only let him stay but proceed to argue in front of him. It just doesn't ring true. Two scenes later—minus Dennis—Jackie and Mary have the same argument again. Throughout the play, there is a distinct lack of character development. Sterling, Mary and Philip are entertaining but strictly two-dimensional types while the relationship between Jackie and Dennis only hints at the deeper connection Rebeck wants us to sense. Frankly, Mauritius feels as though it needs another pass through Rebeck's computer.

I believe Mauritius is intended to be a brutal and arch high comedy, but it's not always played as such in this production. Director Snyder has chosen to develop the crackling tension of the work and its numerous power reversals rather than its full comic potential. It's a valid choice, although I don't entirely agree with it even as skillfully played by Gary Houston ( masterly acerbic as Philip ) , Suzanne Lang ( wonderfully thick as Mary ) and Dan Kuhlman ( sleazily ingratiating as Dennis ) in addition to Adams and Baker. But with such a troupe—and with Tom Burch's handsomely dark and spare, brick-backed scenic design—Mauritius has the right stuff to be an audience-pleaser despite my quibbles.