Shakespeare Theatre of New Jersey continues its season of thoughtful and timeless plays for all seasons with George Bernard Shaw's "Arms and the Man." First published and performed in 1894, it was Shaw's first commercial success. Theatre lore holds that when he was called on stage ("Author! Author!"), there was one person whose "boos" could be heard among the applauding throng. Shaw commented-completely, and ironically, in keeping with his show-something to the effect that, while he agreed with the lone dissenter, who were they to stand against so many.

The title of the play comes from the opening lines of Virgil's "Aeneid," "Arma virumque cano,"-"of arms and the man I sing." Shaw's got a way of cutting to the heart of the matter and the cast members, under Joe Discher's direction, are three dimensional people, who, for the most part, hide behind cardboard two-dimensional full-color cut outs of themselves. And the revealing moments are quite delicious, when we see the real person peeking from outside.

Sean Mahan plays Captain Bluntschli and he is blunt, all right. He cuts to the heart of the matter, whether clambering into a dark lady's chamber to escape death, or receiving, then deflecting, a challenge to a duel, all as a matter of course. He's the refreshing breeze blowing through the stuffed shirts and talking heads that we become so that people will like us. Mahan's portrayal is arch, without being mean-spirited. His Bluntschli is the guy we'd want as our friend-helping us see things, while still being the better part of himself, demonstrating the higher nature so many talk about, but never manage to experience. When a Russian soldier, Jason Edward Bobb, searches Raina's chamber for Bluntschli, who is hiding behind a curtain, he ably demonstrates Bluntschli's assertion that nine out of ten soldiers are fools.

Nisi Sturgis plays Raina Petkoff, betrothed to the heroic and somewhat dim Sergius Saranoff, played, in an example of brilliant physical comedy, by Anthony Marble. She is confused, piqued and intrigued by the man she will soon christen the Chocolate Cream Soldier. Raina knows how to manipulate those around her, and when Bluntschli invades her heart, she cannot help but succumb. Sturgis plays her as literally a pet, but one with a brain-she sees that things are changing and her joys may have more depth. Anthony Marble's continual lack of grace as Sergius aptly illuminates his performance as a heedless man of action. We can easily see, from his portrayal, the man who acts first and has the presence of mind to regret precipitous action, upon more sober reflection.

As the parents who have raised their perfect pet, Raina's mother Catherine and father Paul Petkoff (Anne-Marie Cusson and Bill Christ) are bringing up the young society maven, who will soon take her place at the side of war hero Sergius. Sergius survived his precipitous cavalry charge, in the face of certain danger, by dumb luck circumstance, but flash rules over substance in our minds at times and contemplation after the moment has passed often shows the error of our ways. Cusson's Catherine is aware and strong and clearly acts with her heart. Christ's Petkoff is hale fellow well met, yet clearly doesn't know what's going on in his house. Apparently his wide all-seeing vision works best with garrisons and greater. A loving father and husband, he's well able to adapt, and this is the key to how he and the family thrive.

There are always wise people observing the foibles of the wealthy and Ames Adamson, as the wise Nicola, and Helen Farmer, as the scheming and romantic Louka, have much to say. In fact, while they are originally together, affianced, they then realize that their ambitions run in different directions. Nicola gracefully bows out, knowing that Louka will not forget his sacrifice, once she attains her station. He plans to be a merchant, and her good word would bring him much custom.

Shaw's play is such an excellent choice for the Shakespeare Theatre. It's easy to see that, despite the 100 plus years that have passed since it's introduction, it remains, under Discher's direction, a mordant commentary on wars, soldiers, and international interference in other nations' affairs. Technology of war changes, war and soldiers do not. Charlie Calvert's set is lean, spare and everything it needs to be to show the luxury, in which the family lives late in the 19th century. After all, they have a library! Raina's bedchamber turns, quite literally, to the family's courtyard and, later, the famed library all in a trice. Beautifully done and a lesson, again, in how to bring big theatre into a small place and on a small budget.

Tickets are available at www.shakespearenj.org or call the Box Office: 973-408-5600. The show runs through August 1 at the F.M. Kirby Theatre on the campus of Drew University in Maidson NJ. Better yet, subscribe and help support Shakespeare Theatre of NJ year round. It's topnotch theatre in our own backyard.