This visually striking show about a stressed-out surgeon needs better acting and writing to fully succeed.
So it's too bad that when the play actually begins, it all feels a lot more like Cathy, the once-popular comic strip about a mundane ball of modern mediocrity treading water in a sea of men, parents, and work. As with Cathy, the problem with In Security isn't so much that the subject matter is trite, but that the main character's reactions don't inspire laughter or empathy as much as a half-hearted shrug.
The simple plot finds a surgeon named Lona (Anna Gutto, who also wrote the script), alone and stressed out the night before her wedding. Barricaded in her hospital office, she interacts with the people in her life -- including parents (Erik Parillo and Kathleen Turco-Lyon), assistant (Carmen Chaplin), slutty best friend (Stephanie Davis), and angelic fiancé (Lawrence Ballard) -- over the telephone.
Visually, these interactions are terrific. The pre-recorded projected images (created by co-conceiver Ann Oren) appear as windows to the outside world. But, while we're meant to realize the gap between Lona and these people, the bigger issue is that the people on the other end of the phone are much more interesting. Part of this is because the off-stage performers are simply more solid actors than Gutto. And the theater's acoustics don't help the situation. (Gutto is unmiked and her voice registers less clearly and with less presence than the recordings.)