剧院回来了，如果您忘记了，我们不必在这里进行现实主义。舞台是一个3-D空白的画布，伯克利代表跃升以提醒我们，而您在其上建立的世界只有您的想象力的力量或弱点才能限制。

11月17日（星期三）开业的“冬季时间”说，无需建造一个真正的山区度假屋的木质模拟物。相反，在闪闪发光的竖井的底部包含您的庞大的家人一个填充的单元。（Annie Smart进行了鲜艳的布景设计。）

And when young lovers Ariel (Carmen Berkeley) and Jonathan (Micah Peoples) burst in, skis in hand, they needn’t mirror speech you might hear on the street. This is a Charles L. Mee play, so with liftoff come immediate flights into the wondrous. Ariel can accurately convey her excitement about arrival only with a foray into the origins of language, a jaunt to the planets and the stars, a flirtation with eternal life.

在莱斯·沃特斯（Les Waters）执导的“冬季”中，进入是唯一的进入的途径，入口如此之多，以至于您可能会想到一场门将撞击闹剧，但还有一场另类，太空的闹剧。

There are Jonathan’s parents, the elusive Maria (Nora el Samahy) and the bewildered Frank (James Carpenter). But they have their own respective lovers, Francois (Thomas Jay Ryan) and Edmund (David Ryan Smith). It’s the holidays, and all three couples had hoped to have the place to themselves.

然而，还有其他人侵入：争吵邻居伯莎（Lorri Holt）和希尔达（Sharon Lockwood），送货员鲍勃（Jomar Tagatac）和医生Jaqueline（Sarah Nina Hayon）。这是一个嫉妒和背叛的火种盒，燃料紧密地团结，金属丝的厚蛇从天花板上不祥地垂下。

梅伊的字符acters are embarrassingly clingy yet disarmingly forthright about just how foolish they are, and the young lovers are no more immune from petty insecurity and errant whim than their older counterparts are. In this freewheeling world, the clan embark upon and indulge one another’s monologues qua voyages as if self-dissection and relationship parsing were life’s chief ends. The introspective might relish Mee’s insights into human nature — for instance, that even if we got a do-over in life, we’d probably act the same way; the therapy-averse might find these segments insipid and chewy.

But most often, Waters’ adroit cast feasts upon the script with well-honed tools.

木匠在描述弗兰克·愿望玛丽亚对他的爱情时，受到了损失，但长期以来一直辞职。然而，弗兰克仍然能够超越自己的寂寞野蛮人，并感谢玛丽亚值得拥有这些感受。史密斯（Smith）列举了埃德蒙（Edmund）扮演第二小提琴的玛丽亚（Maria）的感觉，这使机车的势头激增，以至于他的愤怒在他赢得胜利的出口后很长一段时间一直持续下去。

Lockwood’s swatting, dismissive Hilda and Holt’s missish, simpering Bertha are crying out for their own full-length spin-off as a comic double act. As Bob, who inserts himself into the family’s proceedings as if he were always meant to be there and lead them wildly astray, Tagatac maintains a straight face that is truly heroic. Underneath it is the hint of a smirk, as if he’s secretly the god in control of this play — able to look into other characters’ eyes a little too deeply and hold his pauses a smidgen too long, long enough to rip open a wormhole or two in this universe’s fabric.

In these wormholes, Waters stages a skivvy-clad dance party and a Viking banquet. A slamming door becomes a dance partner. An unlikely strip tease becomes a vehicle for self-discovery. One of many lengthy opera arias, with glorious sound design by Jake Rodriguez, becomes one character’s enemy — who can talk over Vivaldi’s “Farnace”? — and another’s scene partner.

Welcome back to the realm of imagination. You can’t get this on Zoom.

M“Wintertime”:Written by Charles L. Mee. Directed by Les Waters. Through Dec. 19. Two hours, 30 minutes. $25-$104, subject to change. Berkeley Repertory Theatre, 2015 Addison St., Berkeley. 510-647-2949.www.berkeleyrep.org