In its latest offering Pittsburgh Playwrights Theatre Company gives us I Nipoti (The Nephews) by Mark Clayton Southers. The play is set in the Golden Meadows Retirement Home.

Now over the past few years I’ve spent quite a bit of time visiting friends in such care facilities. And the Golden Meadows must be set in some mythical place. A place where you can be admitted without any kind of medical records, payment method—or even identification. A place with spacious rooms. A place where nurses answer the call button immediately. A place where your doctor will not only spend long stretches of time telling long amusing stories—but will take bribes and come to your room at your summons.

Two Italian cousins Nico (Tony Bingham) and Anthony (Mark Calla) have brought their dying Uncle Tano (Robert J. Roberts)—after a fall at the family-owned pizza shop (“A Slice of Life”)—to this magical nursing home. Their objective is to pry from the old man the recipe for the secret family pizza sauce. The entire action of I Nipoti revolves around this plot point.

The idea is amusing—if this was a half-hour TV sitcom. But “will-they-or-won’t-they-get-the-recipe” doesn’t seem like enough to justify the nearly three-hour running time of this production.

Act One is long; Act Two is even longer. And Act Two begins with two lengthy monologues (just of the many lengthy monologues) which do nothing to quicken the pace.

Act One plays like sitcom; Act Two contains Southers’ message concerning prejudice—and he delivers it with sledgehammers. Obadiah has singled out Nico for his “exercise” involving use of the words “black” and “white” The idea behind the scene is brilliant. Unfortunately, Nico is such a quick convert, it’s almost like preaching to the choir. Had Obadiah attempted to reform the disgustingly hateful Anthony—then we might have a scene of real fire. I also had problems with the thinking that “black always means bad” Nearly ever color has some kind of negative connotation. “Blue” means depressed. Jealousy is green. Rages can be purple. We see “red” when we’re angry—or it means we are in debt. If you’re a coward, you’re “yellow.” And when it comes to business, being in “the black” is a great thing—isn’t it?

What saves I Nipoti is an amazing cast.

Kevin Brown as resident Obadiah Fields steals the show. He has created such a funny, charming and complete performance. His portrayal is so complete and detailed that I found myself watching him even when he wasn’t at the center of the action. Tony Bingham is a delight as the slow-witted Nico. At times humorous, at times dramatic, Bingham can move you just with a flashing look or the raise of an eyebrow. The scenes between Brown and Bingham are the highlight of I Nipoti. Together, they deliver the scenes of the best comedy and highest emotional drama.

Twanda Clark gives a convincing performance as Nurse Brenda. She can be compassionate or as tough-as-nails when the situation calls for it. (And apparently Nurse Brenda is on twenty-four hour duty at the Golden Meadows. In addition to being the only nurse we ever see—she is there no matter what time of day or night a scene occurs!) As Uncle Tano Robert J. Roberts makes you believe he is a frail, dying old man. The accent is flawless, and Roberts truly makes the audience empathize with this poor soul.

Mark A. Calla has the burden of playing the shiftless Anthony—bossy, arrogant and prejudiced. Calla nails the character perfectly. But when the playwright has given us a character so unlikeable—do we want him to get the secret sauce recipe? No.

The weak link in the acting chain is Lee Howard as Dr. Roberts. Howard is a commanding presence on stage, but so often stumbles over his lines that he diffuses any possible laughs. But he is not totally to blame. As written, the role is unclear as to what kind of character the doctor is. He seems to change in each scene as to whatever the plot requires.

The set is quite attractive and detailed (as are all the sets in PPTCO productions), but the lighting is lacking. Some scenes are played in under lit corners, and there are a number of annoying shadows and dark spots.

Director Wali Jamal has gotten excellent performances from his actors. He also keeps the play moving physically—no small task for a play set in a nursing facility.

Southers has a noble cause in trying to break down the barriers between the races. And somewhere in all of this is a great idea for a play. But when the playwright gives us greasy Italian sterotypes (and for that matter, the character of Obadiah is a stereotype, too. One of the kindly, compassionate “full of wisdom” man-of-color of which Hollywood is fond. And usually played by Morgan Freeman) is he attempting to fight fire with fire? Can two wrongs really make a right?

I Nipoti continues through April 29. Contact www.pghplaywrights.com for information.

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