Lizzie Calogero, Sarah Mitchell, Rebecca Pingree, Brian Lohmann and Richard Pallaziol Photo by Tracy Martin

Sound like the recipe for a farce? No? Well, buckle up if you decide to take this ride, for director Nancy Carlin and playwright J. D. Murphy have coated this seemingly tragic tale of a young woman's quest for justice, or at the very least, reunion, with a veneer of slapstick humor, physical comedy, slamming doors, and satire aimed at skewering political and class divisions.

It's this dichotomy of tone that left me a little confused after the (figurative) curtain fell on the 75-minute intermission-less play. While there are some amusing physical bits, their overuse undercuts any comic power they may have had upon first use. A prime example of this is how the actors bob up and down on the benches that stand in for carriage seats, or the gag of Prussian officer's pants falling down.

On their journey to the Channel, the passengers are waylaid at an inn that they foolishly did not realize is controlled by the Prussians, leaving them stranded and at the mercy of several Prussian officers, one of whom will be revealed to have a very close connection to Buttercup.

Despite the odd tone of Buttercup, a serious lack of character development, and way too much exposition, the actors manage to do some excellent work that, while it doesn't overcome the inherent weaknesses in the text, does allow for some entertaining–and occasionally touching–moments. As Buttercup, Rivera has a marvelously delicate mien that effectively hides her warrior's heart, and helps us to understand why every other character seems to underestimate her. As Sister Walter, the nun who assisted in the abduction of Buttercup's infant daughter, Lizzie Calogero somehow manages to overcome a weak to the point of non-existent transition in her character's character. At no point are we given any justification of why Sister Walter would transform from a cruel kidnapper into a gentle soul who assists Buttercup in her quest. Equally confusing is why Buttercup does not at first recognize Sister Walter as the woman who abducted her child. As the Innkeeper, Norman Gee does a wonderful job, serving almost as our advocate on stage, marveling at the idiocy of the bourgeoisie and the futility of war.

Perhaps the strongest element of Buttercup is the wonderful work costume designer Maggie Whitaker has done. The characters are resplendent or dumpy, as required, in looks that range from flouncy dresses to foppish coats to epaulette-d military uniforms, serving as a lovely distraction.

If you are of French heritage, you might find yourself annoyed at the self-righteousness, snobbery, and out-of-control egotism of the bourgeoisie. The Prussians don't come off much better (with one exception), appearing here as cruel and heartless. No matter what your ancestry, Buttercup is unlikely to inspire a positive reaction. A sad ending for a tale (based on Guy de Maupassant's story, "Boule de Suif"), which held much promise, yet fails to deliver.

Buttercup runs through April 13, 2025, at Marin Shakespeare Company's indoor theater, 514 4th Street, San Rafael CA. Shows are Thursday-Saturday at 7:30pm, with 2:00pm matinees on Saturday and Sunday. Tickets from $37.99 ($22.24 for those 25 and under). For tickets and information, please visit www.buttercupstage.com/.