With a lot of hoopla, fanfare, and a ribbon cutting ceremony presided over by Gilbert Mayor Steve Berman and the town council, a new theatre was born in that little east valley town. The Hale Centre Theatre, the fifth of a chain of theatres in California and Utah, bills itself as a place for good old family entertainment. You'll never see Glengarry Glenross or Sweeney Todd there. This is a company, led by Owner and Producer David Hale Dietlein, that will present comedies, very light dramas, and classic musicals that you can bring everyone to, from your white-haired grandmother to your well-scrubbed child. Think of it as dinner theatre without the meal. And it's all set in a 380-seat theatre-in-the-round where the proceedings are so intimate, it's hard not to walk across the stage to get to your seat (a nightmare, I'm sure, for the Stage Manager). If their premier production is any indication, with its solid fare, professional values, and inexpensive ticket prices, this theatre will become a valley contender for a long time.

To open the space, the Hale is presenting James Sherman's lightweight comedy of errors, Beau Jest. They were wise to hire local Director Ben Tyler, a strong helmer with a successful track record with comedies, who has collected a strong cast. The play centers on a young Jewish woman in Chicago, Sarah Goldman, whose Gentile boyfriend, Chris, is unacceptable to her overbearing parents, Miriam and Abe. She hires a fellow from an escort service, Bob, to impersonate her Jewish doctor boyfriend at a family dinner that includes her therapist brother, Joel. Things get a little hairy, though, when Bob, an actor, is required to learn not only to be a doctor, but because of a mistake by the escort service, to be Jewish as well. The script is solid, if a bit disappointing at the end, as it chooses to spin morals rather than to offer surprises.

Mr. Tyler has done his homework, making the Goldman clan a believably Jewish group that treads near but never crosses over to stereotyping. He has also mastered theatre-in-the-round blocking. While it is necessary to see actors' backs at least 25% of the time, from where we were sitting, it does not impinge on the proceedings. He manages to make everything realistic without being particularly stagey, and that is a high compliment.

The cast is at least solid, and most often impressive. Central to the play are April Shepherd as Sarah and Joseph Kremer as Bob. Both have a palpable chemistry, and are perfectly charming. Ms. Shepherd isn't particularly Jewish in attitude or looks, but she is vibrant, excellent in timing, and always in the moment. Mr. Kremer is completely believable. He is hilarious when Bob is struggling to understand his role as the boyfriend, and sweetly self-effacing in a James Stewart way when returning from his part. Andrea Pruseau and Dorman Smith are wonderful as Mama and Papa Goldman. Ms. Pruseau is the most stereotypical of the performers, but how do you not stereotype a Jewish mother? She is a strong comedienne and takes over the scene when called upon. Mr. Smith has an accent that is constantly shuttling between Brooklyn, Hungary, and middle America, but he, too, is impressive with his comedic timing. He and Ms. Pruseau work so well together, it's like they've been married for forty years. Speaking of disappearing accents, Rick Shipman gives his first two lines like a Jewish schlemiel, and then tosses that attitude aside for the remainder of the play, but he is still very good as the doubting Joel, in the moment even as he's observing the scene. This may sound strange, but he is the best at "acting with his back" in the ensemble, a useful trait in theatre in the round. My only disappointment came with the smaller role of shiksa Chris. Robert O'Mara is not as strong at the ensemble, although he does an adequate job of carrying the role of the smarmy advertising rep. He tends to over-emote and mug where the others are more natural.

In this family affair of a company, Lighting Designer Tim Dietlein has dones well providing a uniform wash over the set, though the fades at the start and close of each scene call attention more to themselves than to the action. Sandy Dietlein's costumes are indicative of character, time, and place, while John Autore's set is well designed. The unbilled sound design is full of subtle quips, though the opening music goes on for much too long before the show finally starts.

This spunky theatre company determined to bring family theatre to the base of the Gilbert water tower is off to a great start. Hopefully the community will support this not-quite-so-centrally located playhouse, and they will continue to present solid theatre and keep local actors working legitimately.