THEATER REVIEW:

Lower Manhattan’s Delancey Street is a line of demarcation — a Mason-Dixon line, if you will — between the bustling metropolis and the city’s Old World-flavored Jewish community.

In “Crossing Delancey,” a romantic comedy by Susan Sandler, a modern Jewish woman of more than marriageable age straddles this border as she seeks social satisfaction on the metropolitan side while constantly being pulled back to the ethnic section by a cleverly plotting grandmother and assorted other accomplices.

Now on stage at the Newport Theater Arts Center, “Crossing Delancey” is a chatty concoction, the stuff of which television sitcoms are made. Its characters are overflowing with ethnicity and continually vie for the optimum camera angles, which usually are usurped by Grandma “Bubbie,” as is the production itself.

Director Terri Miller Schmidt is savvy enough to realize there are several pounds of trimmable fat here, but also wise enough to ascertain that this excessive verbiage also comprises the heart of Sandler’s play. Thus, she has given particular thought to its casting, with warmly pleasing results.

As the nominal central figure of Isabelle “Izzy” Grossman, Susan Seely excels as a single young woman who operates a book store “across” Delancey, where she strives to catch the attention of the dashing young author whose latest work she’s read three times.

Seely balances her character’s home life and business world beautifully, sharing her feelings and frustrations with the audience via her highly expressive features.

In the plum role of Bubbie, Newport has called on the considerable talents of Teri Ciranna, who proceeds to deliver a most memorable performance, negotiating the happiness of her beloved granddaughter while recalling what a hottie she was in her own youth. It’s not an easy task, but in Ciranna’s hands the words and often-goofy actions flow effortlessly.

Seely’s character has two potential suitors — the aforementioned author and the more reserved “pickle man,” owner of an ethnic food distribution business. Mitchell Cohen smoothly enacts the literary lion who’s apparently vaguely aware of Izzy’s presence until she raises the alluring ante.

As the pickle practitioner who’s crazy for Izzy, Frank Moran has a tougher row to hoe, dusting off his own character before he can enter the romantic sweepstakes. This he accomplishes with a painful transition aided by Ciranna’s deft assists, reversing course after he arrives dressed like a Miami pimp when, thankfully, Izzy is absent.

Steering the latter scenario is the neighborhood matchmaker, richly overplayed by Sam Dawson, who always seems to be arriving when least expected, or welcomed. Dawson gives her character a liberal dose of chutzpah, which constitutes her survival mechanism.

Andrew Otero’s set design, two main staging areas plus two fringe settings compactly included on a fairly small stage, is particularly impressive, rich in atmospheric detail. Lighting, by Mitch Atkins, also is applaudable.

“Crossing Delancey,” which some playgoers will recognize from the Amy Irving movie, is a character-driven story without the steady diet of Neil Simon-style laughter, but with appreciable homespun humor.

IF YOU GO

WHAT: “Crossing Delancey”

WHERE: Newport Theater Arts Center, 2501 Cliff Drive, Newport Beach

WHEN: 8 p.m. Thursdays through Saturdays, 2 p.m. Sundays until Dec. 16

COST: $15

CALL: (949) 631-0288

TOM TITUS reviews local theater for the Daily Pilot. His reviews appear Thursdays.