When is a “talking heads” play not a “talking heads” play? First, when it’s written by Donald Margulies, a playwright who creates sympathetic characters that blossom and clash. Second, when it’s directed by someone (Elaine E.E. Moe) who understands the balance of natural and presentational. Third, when it features two actresses (Janet Arnold and Jessica Flowers) who have a strong, believable connection that allows for the movement of their characters over the course of six years. Arizona Jewish Theatre Company’s current production of Collected Stories is a dramatic comedy that is as intense and interesting as their first production, The Value of Names, and just as tautly presented.

Arnold (seated in photo at right) and Flowers (standing) portray established and cantankerous short story writer Ruth Steiner and her adoring protégé Lisa Morrison, a raw talent in need of a mentor. From Flowers’ breathlessly mincing entrance to Arnold’s heartbreakingly stoic final stand, the two tentatively dance around each other, bond, and eventually become personal and professional rivals. The six years of their relationship builds in a fast-moving two hours that is a credit to playwright, director, and actresses.

Moe knows directing. This veteran paces the piece with a keen awareness of Lisa’s energy and Ruth’s cautiousness. She doesn’t move the play around the stage anymore than it needs to be blocked, beginning with distance and movement to establish and easing it into familiar coziness as the two connect. Its exciting moments and clashes are never over-modulated. This is a textbook case of supporting extensive dialogue to keep it from feeling preachy or overwhelming.

Arnold is careful and studied. Her casualness is tempered with thorniness that is neither overly pointed. Her professionalism masks a deep passion for writing that sustains her and threatens to overwhelm her. Her connection with Flowers edges on motherly, but there is always a hint of peer and predator in their conversations and silences. Her character arc is low but consistent, and she does an excellent job in presenting it. On the other hand, Flowers’ character grows rapidly over the six years, sprinting from desperately ambitious and becoming a vaguely disturbing mix of her needful ways and Ruth’s rigid protocols. The transformation is wonderfully realized.

Thom Gilseth’s set is an excellent recreation of Ruth’s apartment and well-ordered world. Troy Buckney’s lighting is simple but expressive. Lois K. Myers’ costumes are subtle indications of relationship and rank, while Bill Osborne’s sound design is solid.

AJTC’s season has been an ambitious and extremely successful artistically. As often follows, audiences have not been responsive to the challenge. Sadly, it looks like the biggest financial success will come with their upcoming silly comedy Meshuggah-Nuns, but I encourage everyone to enjoy this insightful and incisive work.