or anyone who has even had gripes with the shady office attendants at work hiding all the good, full-fat coffee creamer, gripe no more.

The secret hiding place of the sinful flavor additive is unveiled by Salt Lake Acting Company in its production of Annie Weiseman’s play, “Hold Please,” which officially opened to the public Wednesday, Feb. 6.

Directed by Adrienne Moore, the comic drama is an exploration of feminist ideals in the work place, the differences in sexual values between two disparate generations of women and the often abusive sexual power structure of corporate America in the 21st century.

The play follows a quintet of “reception technicians,” all of whom are employed at the same undisclosed firm and work together in the same office. The set design by Kevin Myhre is understated yet effective in its goal to create a malleable and involving stage, featuring furniture and items commonly associated with dry, boring secretarial spaces.

The mature Agatha, played by Kathryn Atwood, is a close-minded and insecure veteran of the office who tries to cover her inadequacies with bossy and egocentric behavior. She organizes demeaning and trite “heart-talks” throughout the play to discuss the goings-on of the week and hides the full-fat coffee creamer in a deceptive bottle behind the microwave. Agatha’s semi-elderly contemporary Grace, played by Anne Mark, is more subdued in her behavior, and though she comes off as aloof sometimes, it’s often because she is immersed in thoughts of past tragedies and present ramifications.

The two older secretaries work with a pair of younger secretaries, Erika and Jessica (Daisy Blake and Rebecca Larsen), who are quick-learning and borderline lewd. They are the modern, seemingly amoral reflection of the feminist ideals fought for before their time.

Centering around an instance of sexual indiscretion involving a secretary and a boss, the play moves in sweeping conversational vignettes that all contribute to a rising sense of anticipation as the play goes on.

In terms of generational feminine identity, the play is a cohesive and sometimes comical look at how different women react to being placed in stagnant and underappreciated jobs. The bleak office and its scheming inhabitants are often filled with the false and inappropriate love of their employers, thus creating a sense of emptiness.

Though a play like this has the potential of treading into sappy and woeful territory, SLAC’s production is comical, heartfelt and realistic, lending to its characters a sense of believability that allows the production to come together in every scene.

Really, the only thing that felt out of place in the SLAC production was the transitional lighting.

Precluding each scene, the lighting fixtures on the stage desks would flicker in syncopated rhythm to a steady nouveau-disco beat. In an otherwise solid, well-connected and subversively solemn play, the lighting between scenes was just strange. I felt like dancing or answering phones. Or both.

I don’t know if there were some ’70s influences I was simply unaware of or whether Jason Santi, the production’s lighting designer, was just digging on “Saturday Night Fever” in the back of the playhouse, but something didn't fit.

Regardless, “Hold Please” is a worthwhile and pleasant spectacle that deserves to be seen.

The play will continue through Feb. 29. For tickets and information, Call ArtTix at 355-ARTS or visit www.saltlakeactingcompany.org.
eryn@red-mag.com