ScheckOnTheater

Does the world really need another 18th century British farce?

That question is fairly begged by the arrival of Nick Jones’ pastiche of a Restoration comedy that has opened courtesy of the Lincoln Center’s developmental initiative, LCT3. Aping its inspirations without adding anything contextually or thematically new to the mix, “The Coward” ultimately comes across as little more than an exercise in stylistic artifice.

Set in late 18th century England, the play concerns the misadventures of Lucidus Culling (Jeremy Strong), a foppish young man who lives up to his titular description. When he accidentally injures an old man and is challenged to a duel by the offended son, Lucidus is pressed to defend his family honor by his overbearing father (Richard Poe).

Too afraid to go through with it, he hires a macho criminal (the entertaining Christopher Evan Welch) to assume his identity. Predictable comic complications ensue, including the misplaced affections of a high-minded local beauty (Kristin Schall, of “The Daily Show” and “Flight of the Conchords”) and a body count that reaches bloodily alarming proportions.

Director Sam Gold has provided a wonderfully handsome production featuring an elegant drawing room set by David Zinn and superb costumes by Gabriel Berry. And there are some delicious comic moments to be sure, many of them provided by Jarlath Conroy’s priceless turns in several roles, including an ill-fated servant. But much like the grating falsetto voice that lead actor Strong has adopted for his role, “The Coward” quickly wears out its welcome.

Duke on 42^nd Street, 229 W. 42^nd St. 646-223-3010. www.Dukeon42.org.    

Playwrights Horizons, NYC

Through Nov. 28

Politics and family drama mesh uneasily in After the Revolution, Amy Herzog’s densely textured play about three generations of a family of leftist activists. Previously seen at the Williamstown Theater Festival, the work has been given a beautifully acted and staged Off-Broadway production that is only sporadically compelling.

Set in 1999, it concerns the Joseph clan, especially lawyer daughter Emma (Katharine Powell), whose world is rocked by the revelation that late grandfather Joe, a victim of the blacklist who famously refused to name names before the House Un-American Activities Committee, actually spied for the Russians in the 1940s.

Emma, who has established a foundation for leftist causes, is particularly devastated by the news, fearing that it will threaten its efforts on behalf of (real-life figure) Mumia Abu-Jamal, a journalist/activist on death row for the killing of a Philadelphia policeman.

This puts her in conflict with father Ben (Peter Friedman), a Marxist passionately committed to the cause, and her other family members, including her grandmother Vera (Lois Smith), still loyal to her late husband but beginning to suffer mental decline; her less politically engaged Uncle Leo (Mark Blum); her loving but conflicted mother Mel (Mare Winningham) and sister Jess (Meredith Holzman), fresh out of rehab. Also involved are Miguel (Elliot Villar), Emma’s romantic and professional partner, and Morty (David Margulies), a rich family friend who is prepared to provide her foundation with a multi-million dollar endowment.

The endlessly talky proceedings will prove enervating to those not deeply interested in the issues being addressed, but the playwright displays a real facility for incisive characterizations and pungent dialogue. Adding greatly to the evening’s impact are the performances by the superb ensemble, with Friedman particularly strong as the father so devoted to his daughter that he is reeled by the knowledge that she smokes.

Staged smoothly and cogently by Carolyn Cantor, the production moves so briskly that once can easily tolerate the play’s more annoyingly polemical aspects.

Playwrights Horizons, 416 W. 42^nd St. 212-279-4200. www.TicketCentral.com.