Marin Ireland and Peter Kim in "Maple and Vine". Photo Credit: Sara Krulwich.

Stop. Take a breath… relax. The frenetic pace of modern American life is overwhelming. Nostalgia for a simpler, happier time is rampant in today’s megalomaniacal society. Jordan Harrison’s “Maple and Vine,” directed by Anne Kaufman at Playwrights Horizons follows a young married couple—Katha and Ryu (Marin Ireland and Peter Kim, respectively) who abandon the hustle and bustle of the 21^st century for life in a gated community whose residents immerse themselves in a 1955 middle-class American mindset and lifestyle. “Maple and Vine’s” satirical depiction of the ‘wholesome’ 1950s routine reminds the audience (the vast majority of whom appeared to have been alive during the ‘50s) we romanticize the past much too readily, choosing to forget the less-attractive, less-accepting aspects of previous epochs.

Harrison’s satire flips modern conceptions of gender, race, and sexuality on their head. Feminists of the 1950s such as Betty Friedan (author of The Feminine Mystique) argued that women were depressed and trapped by the confining, inescapable role of housewife. Katha, on the other hand, feels depressed and trapped by all the responsibility of her high-powered job and modern ‘freedom,” finding refuge in the “domestic sphere” which women of the 50’s so often strived to escape. This contrast seems to imply, as Ryu suggests prior to moving to the 50’s community, that the ‘grass is always greener on the other side,’ and true happiness is ever elusive.

“Maple and Vine” is much more than a philosophical argument, however. The play is suspenseful, surprising, and thought-provoking. Marin Ireland’s nuanced performance as Katha is touching. As Ryu, Peter Kim was at first overshadowed by Marin Ireland, but asserted greater control in their relationship the longer the couple spent immersed in the ‘50s.  Ryu convincingly lavishes love and support on his wife, but it is hard to believe that Ryu would be content to remain a second class citizen in the bigoted, racist ‘50s community. Dean (Trent Dawson), the dapper emissary from 1955 who convinces Katha to relocate to the 50’s community, and his wife Ellen (Jeanine Serralles) round out the cast with authentic ‘50s aplomb. Jeanine Serralles developed her character wonderfully throughout the play, striking the perfect balance between outward strength and inner vulnerability.

The other star of “Maple and Vine” is the set. In keeping with the theme of societal confines, the set is composed of hefty iron bars which form the framework for houses and offices. Different patterned fabrics were stretched over the bars to distinguish between the ‘50s community and the modern world.

“Maple and Vine” will keep you on the edge of your seat with several unexpected twists. If you are always rushing from place to place just to keep up, I don’t necessarily recommend a return to the ‘50s, but I do recommend taking a little time out of your busy schedule to see “Maple and Vine” at Playwrights Horizons.