Or,

Restoration upheaval

It’s been barely a year since Capital Stage mounted the historical farce Or, as its final production on the Delta King Riverboat. The perky, semi-serious comedy links the sexual hedonism and social instability of England in the 1660s—when King Charles II had multiple mistresses, and Aphra Behn became London’s first famous female playwright—with the 1960s, when women ardently aspired to roles previously reserved for men, free love reigned, and society was nearly derailed by riots and assassinations.

Barnyard Theatre, the artsy cadre of 20-somethings who mount ambitious summer shows on a real-deal farm just west of Davis, does Or, with a cast of six, none doubling on parts. Actress Hope Raymond (as Behn) flashes a knowing smile and projects Behn’s attraction to lovers male and female while allowing us to glimpse her steely determination to make it as a writer, even if that means deferring certain pleasures. Rachel Pinto plays the prominent actress Nell Gwynne (keen to get Behn to write her a leading part); Sean Olivares is Charles II, bedder of countless ladies; and Geoffrey Albrecht plays a desperate spy on the run. While the acting isn’t quite as slick as the Equity cast in the Capital Stage production, Barnyard’s young performers are nonetheless on the mark, and the story unfolds smoothly. Director Heidi Voelker times the constantly opening/closing doors quite nicely, with couples ducking into the bedroom just as a potentially dangerous visitor arrives.