“The Underpants,” which opened Sept. 27 and runs through Oct. 8, is a dramatic farce detailing an incident involving a frau, the loss of her undergarments and a small town’s reaction. The witty plot, along with the brilliance brought to the script by comedian Steve Martin, who adapted the original script written by Carl Sternhiem, had so much to offer the audience but did not live up to its potential. Going into the play it is important to know what you are going to see. This is no deep, moving, story but rather a light airy comedy filled with vulgar jokes and sexual innuendo that keeps the audience on the edge of their seats wondering what absurdity will be uttered next. The level of light wittiness that existed in the beginning of the play was lost when the crude jokes became unbalanced and thus took over the play. The production was cast with seven experienced actors who all did an admirable job portraying the physical side of their characters and emphasizing the satirical aspects of their roles. All the actors used very deliberate movements in order to portray the different qualities of their characters, but in the process forced jokes and actions onto the audience. It is one thing to have the audience laugh at funny parts during the play, but it is quite another to make the audience feel obliged to laugh when something is not so humorous, which happened too often. The character of Versati, a poet, was masterfully played by Greg Perkins, who did an amazing job portraying an archetypal romanticist. On the other hand, Klinglehoff’s portrayal came up short. The character had tons of potential that was not met in the play. Between the extensive crude jokes and the overly dramatized characters the play goes through some lulls where it looses it edge and witty nature. Incredibly entertaining but not tight enough for a comedy, “Underpants” requires you to have an open mind and accept the ridiculous nature of farcical comedy.