It’s hot outside in Fort Worth, Texas, right now (August 2026).

But it’s a different kind of “hot” at Stage West for the rest of this month.

The Cottage, has taken up residence in the theatre (with apologies from me for mixing metaphors!). The laughs, along with the action, are non-stop.

The actors are all marvelous in their over-the-top physical hijinks, and the plot is full of fun twists. But in many ways it’s the cottage itself (in line with the title) that is the best element in this production. Its “STYLISHLY” (FOR THE 1920s) ornate trappings alert audiences as soon as they enter that The Cottage will matter to every character, that it has a rich history of its own, and that it will figure in the unexpected (but perfect!) dénouement of the action.

So, KUDOS to set designer Leah Masur and her team for creating a stage set-up worthy of these characters’ again-and-again dashes all over the place–in and out of hideaways, up and down stairs, through strategically-placed inside doors. And all this commotion goes on framed by huge windows looming onto the main room with placement perfect for interlopers to peek in on the main scene; an ornate set of double-doors that keep drawing insistent (and crisis-forecasting) knockings as the number of characters on stage grows; and spaces ideally organized inside for characters to keep serving each other tea and “harder” drinks, or lighting each other’s then-so-sophisticated cigarettes; and props perfect for grabbing and brandishing at pivotal moments. Bravo to the entire tech team, with a special nod to carpenter/electrician Holli Price. (Scroll down to see the list online here: https://stagewest.org/the-cottage)

And major congratulations, too, of course, to Director Emily Scott Banks for taking full advantage of this inspired set design, along with her talented crew of actors, to bring a laugh-a-minute tale of romance and fun sexual liaisons to life.

I’ve held off from the typical theatre review’s tendency to spotlight script (Sandy Rustin’s is FUN) and actors (every one of them outstanding, including in their skill at physical comedy and believable dialect) because I can’t think of a production I’ve seen anywhere that made such creative and engaging use of its setting. Space, acting, tech, story: everything truly does chime in this polished production—even down to a magical FART at a key moment in the storyline. (Trust me).

For all these reasons, if you’re reading this in time to get yourself a ticket, I hope you’ll do so. But in case you’re coming to this blogpost long after this production has finished its run, let me close by riffing on comments Stage West’s inspiring Executive Producer Dana Schultes often shares on opening nights (as the did this time) and other occasions sponsored by Stage West: going-in-person and joining communities to share cultural events are crucial for all of us now.

To expand on Dana’s point a bit: yes, the times can seem dark and discouraging, the social divisions deep, even sometimes seemingly insurmountable. But hearing a group of 200+ folks laughing together is a tonic. Similarly, noting how a particular painting draws an intense cluster of viewers together, however briefly, reminds us of art’s communal power. Listening to the crescendo of live applause when a concerto ends lifts everybody up who’s there. So make yourself get out of that (air-conditioned) house. Go find your own artistic “Cottage” escape for a few hours. The trip—and the shared enjoyment—will be worth the effort.