Back to the Drawing Board is a hilarious take on three characters’ approaches to life’s goals and ambitions, filled with bumps and choices, all while dealing with lost and potentially found love along the way. Once again, renowned playwright Ken Levine, the Emmy Award–winning writer for Cheer s, MASH, and Frasier, has selected Best Medicine for one of his latest creations, a world premiere, a perfect way to start the new year.  The irrepressible John Morogiello is Keith, a retired near-fuddy-duddy, bumbling alone in his shabby apartment. Recovering from a mild stroke, he relives his dreams of impressing a long-lost love by sending countless comic drawings and captions to The New Yorker, yearning for one to be accepted, for 27 years. Each week, he quits in disgust and disappointment, swigs down a stiff drink, then sleeps it off, only to try again the next day. His dismal routine is interrupted by a perky visitor who barges in like she owns the place, denigrating his dismal furnishings and ratty clothing choices, before finally announcing, as he is about to call the police, that she was hired by his son to be his caretaker. Tara (Leah Eden Chiaverini) and Elizabeth (Kari Luther) try to revive Keith (John Morogiello) in ‘Back to the Drawing Board.’ Photo by Elizabeth Kemmerer. Leah Eden Chiaverini, as Tara the caretaker, is a bundle of energy, nerves, and chutzpah. She’s loud and abrasive, settles in before she’s invited, and clearly works Keith’s last nerve. As he’s nearly booting her out the door, she spots the cartoons on his desk. Oh, a New Yorker cartoonist, she asks? Keith’s surprise and contentment at finding a fellow enthusiast soften his reactions. Tara finds herself hired and functions more like a companion than a certified caregiver (as seen in one hilarious scene, when she nearly swoons, unsure what to do, as Keith slumps over in a faint). Projections on the back wall reflect the passage of time, and playful direction by Stan Levin captures Keith and Tara’s growing care and fondness for each other as they reach the point of sharing wishes, vulnerabilities, and disappointments. In a refreshing twist, Tara takes it upon herself to locate Keith’s long-lost love interest. That’s when Elizabeth Johnson supposedly shows up, played to the hilt by Kari Luther, who manages to keep her composure while maneuvering through bouts of mistaken identity. Learning about each other’s pasts helps the trio shift from a ho-hum mindset to possibilities of reaching for the stars in their own lives. Each character has their own journey, but what makes this script so compelling is that it shows how a spark of care from another person can make all the difference in the world. The result is a satisfying romp in the belief that fulfilment can really happen for everyday, insecure, normal people. The New Yorker–style cartoons and captions add delightful chuckles along the way.   Lighting by Morogiello and set by director Levin create an effective off-white back wall that serves as a projection screen. Costume designer Elizabeth Kemmerer’s neat handiwork literally shines with Elizabeth Johnson’s entrance in a gorgeous shimmery gown that she discounts as “this ole’ thing,” when it’s obviously an attempt to wow Keith. Costuming also keeps up with Keith’s expanding awareness of life beyond his self-imposed limited space — slacks and a cardigan replace the ratty mishmash attire, and Johnson’s full-scale baseball-fan ensemble reflects her yin to his yang for their budding camaraderie and evolving relationship.  Playwright Levine’s inspiration for the play apparently came from his own experiences of trying to get a cartoon selected and published in The New Yorker, every cartoonist’s dream. The cartoons projected in the show are his own, along with those of fellow cartoonist Lynn Hsu. In a talk-back session, Levine shared how it’s certainly not the monetary remuneration (which is relatively paltry) that cartoonists crave but the prestige of seeing one’s handiwork in that hallowed space. In one funny passage drawn from life, he explains that cartoonists wait years to be accepted, and that recognition from The New Yorker is seen as the ultimate validation of their work.  LEFT: Keith (John Morogiello) reconnects with his old college friend (Kari Luther); RIGHT: Tara (Leah Eden Chiaverini) tries her hand at stand-up in ‘Back to the Drawing Board.’ Photos by Elizabeth Kemmerer. The production hits its marks in execution, production, and design — quite a feat for a small company to pull off, especially given the rapid-fire script and mistaken-identity interludes.  Packed with wit and charm, the show exudes love and passion for the work, whether it’s cartooning or taking a stab at stand-up comedy.  The show’s title, Back to the Drawing Board, relays the Sisyphean nature of the work — no matter how much you push, struggle, and prod to get to the top, you end up back where you started and try all over again. That’s kind of like life, to give your best, take your shot, and even when you fall, get up and start again.  Back to the Drawing Board is an optimistic and fun-loving take on what can happen if you’re lucky and persistent enough to get back up and just keep trying.  Running Time: Approximately one hour and 45 minutes, including one 15-minute intermission. Running Time: Approximately one hour and 45 minutes, including one 15-minute intermission. Back to the Drawing Board plays through January 25, 2025 (Friday and Saturday at 7:30 pm; Saturday and Sunday at 3 pm), presented by Best Medicine Rep, performing at Adventure Theatre MTC Academy, Wintergreen Plaza, 837-D Rockville Pike, Rockville, MD. Purchase tickets ($32.95, general; $21.95, student and senior)  online, in person, or by contacting the Box Office at [email protected].  Contains mature language and themes. Back to the Drawing BoardBy Ken Levine  CASTJohn Morogiello as Keith LavelleLeah Eden Chiaverini as Tara WidmanKari Luther as Elizabeth Johnson PRODUCTION DESIGNDirector: Stan LevinLighting Design: John MorogielloSet and Sound: Stan LevinCostume Design: Elizabeth KemmererSet Design: John MorogielloStage Manager: Elizabeth Kemmerer The post Persistence is hilarious in ‘Back to the Drawing Board’ by Best Medicine Rep appeared first on DC Theater Arts. ...read more read less