Satisfying ëChristieí Arena Stage Closes Season With Strong Acting, Insightful Direction by Lisa Troshinsky It is decisions like the ones Molly Smith made to direct Arena Stageís season closer that will ensure the theaterís continued success as it plans its future expansion. Watching her production of Eugene OíNeillís ìAnna Christieî is akin to eating a large, satisfying meal, with all the nutrients included. The work has great depth, the acting is sensitive and strong, and the direction milks both the scriptís humor and sorrow. Although the play exposes the unforgiving reality of roughhewn seamen and a misguided daughter eking out a living in early 20th-century America, it also reveals the underbelly of its characters, giving the audience a satisfying juxtaposition. Whatís so rewarding about this play is its unsuspected purity, not unlike OíNeillís ìAh, Wilderness,î another turn-of-the-century drama depicting the lives of American simple folk. In Pulitzer Prize-winning ìChristie,î the playwright brings together three characters who were previously on their own but now choose to struggle with the growing pains of dependence. They have no time for patien ce or pretenses. They wear their hearts on their sleeves despite all of their contortions to hide vulnerabilities. The audience is privy to watch and identify with their conflicting desires of staunch self-reliance and unfamiliar trust of each other. ìI love the nakedness that OíNeill brings to all of his characters,î said Smith, who is also artistic director of Arena Stage. The setting is a coal barge off the U.S. northeast coast, on which Annaís estranged father makes his living. Anna shows up unexpectedly one day to reunite with him after 15 years of separation, hoping beyond her cynicism for some comfort and sense of belonging. Her father, Chris Christopherson, wants nothing more than to make up for lost time, but he fights his daughterís desire to marry an Irish seaman (whom he later saves from a shipwreck), blaming the ìold devil of the seaî for bad luck and the reason he abandoned Anna in the first place. Arena newcomers Sara Surrey, as Anna, and Dan Snook, as Mat Burke, Annaís love interest, bring needed new energy to the D.C. theater community, which often overuses its albeit talented artists. Coincidentally, both actors received a masterís degree in fine arts from the Graduate Acting Program at New York Universityís Tisch School for the Arts. Kevin Tighe, who was last seen at Arena in the production of ìCrime and Punishment,î is unrecognizable as old-man Christopherson and perhaps the most convincing actor on the stage. Playing a churlish Swede who has misgivings about giving up a ìlandî life and raising a family, Tigheís painful lines are delivered with reverence and his humorous ones with perfect comedic timing. Although Surrey and Snook are a treat to look at and obviously excel in their fields, their interactions at times seem a bit staged. During their flirtation scenes, I imagined them responding to a directorís calls as they circled around each other and traded places on stage. At the same time, Surreyís classically feminine Anna expertly conveys emotions through her physical responses to anguish, frustration and anger. Snookís muscular build almost draws attention away from the scene in which he meets Anna, giving the audience a good reason for her attraction toward him. Snook delivers each line with a separate intention, which serves to keep the audience engaged, but might also be recognized as an acting trick. Although not on stage for very long, Anne Scurria, as Marthy Owen, Christophersonís girl, stands out as a juicy, heartwarming and clever character. In the end, the acting works well as an ensemble and any flaws are forgiven before they are registered. Bill Rayís set design is simple and convincing of a wooden barge with part of a sail, cargo barrels and stairs leading down below deck. The relentless fog that engulfs the air for much of the play, in addition to Eric Shimís choice of ethereal classical music, works to add an effective but non-imposing backdrop. Annaís traveling garbóturn-of-the-century, flowing pastel dresses and lace-up red shoes, created by Linda Choóis delicate and eye catching. The production is rich, but not with processed sugar. OíNeill, along with Molly Smith, have used the right mixture of a multitude of ingredients. The product tastes exquisite and the recipe remains elusive. ìAnna Christieî runs through June 19 at Arena Stage, 1101 6th St., SW. Tickets are $40 to $59. For more information, please call (202) 488-3300 or visit www.arena-stage.org. Lisa Troshinsky is the theater reviewer for The Washington Diplomat.