Linda Whitney, director of the Harlequin production of The Last Schwartz, references Tolstoy in her director's notes: "Happy families are all the same; every unhappy family is unhappy in its own way." Yet it's the work of another Russian writer that is stamped most indelibly here.

The Schwartz siblings have gathered in late winter in the Catskills to commemorate their father's yahrzeit, the one-year anniversary of his death. We come to learn Manny Schwartz was a proud Jew but a difficult man. His DNA recurs most strongly in daughter Norma (Ann Flannigan), whose control freakishness exhausts her siblings and in-laws. Eldest son Herb (Scott C. Brown) is more subdued and financially successful, but weighed down by his inability to have children with his wife, Bonnie (Deya Ozburn). Gene (David Brown, no relation) has become a producer of music videos and infomercials and clearly dreads coming home. Compounding his anxiety is his over-sharing shiksa FB, Kia (Alison Monda), whose primary goal in life is to writhe in cages on MTV. And Simon (Casey Brown, also no relation), who suffers from one of those bizarre theater maladies whose symptoms encompass everything from fading vision to Asperger-style discomfort with physical contact, is an astronomer just back from Australia.

I've been eagerly awaiting this production, as it's something of an End Days reunion. End Days, my favorite show of 2010, was also written by Deborah Zoe Laufer, directed by Linda Whitney and starred Scott C. Brown and Ann Flannigan. From the production side, my expectations were ably met, and the cast earned its standing ovation from a full house opening night. It was only as I walked to my car that I realized the script itself doesn't quite stick the landing.

As for Whitney, she's probably the most reliable director in town, and her richly detailed set design is a treat for the eyes. It's beautifully lit throughout and serves as a stunning backdrop for Jill Carter's poetic projections. A bluegrass score was an out-of-the-box choice that earned raves from audience members on all sides. Harlequin is so technically proficient that it's actually most remarkable that it continues to surprise.

Scott Brown is in top form here, funny and commanding; his injury scene is a tiny masterpiece. David Brown is believably skittish, and Monda brings depth and energy to what's written as a 2-D character. (Of course Kia confuses astronomy with astrology. Of course she has hot pants for every male on the stage. But would even Kia be that callous about an abortion?) Flannigan - not exactly a Jewish name! - is terrific as Norma. The audience loved to hate her, which surprised me and, probably, Flannigan. I'm not sure in which universe Deya Ozburn is either old, fat or frumpy, all qualities ascribed to Bonnie; but when much of Act II turns into a tragicomic two-hander, it's a joy to watch her and Monda interact. And Casey Brown does fine, controlled work as Simon, despite the fact that his character seems awkwardly wedged into the story.

Which leads me to those nagging, post-show reflections. A major plot point, Gene's history with Bonnie, is completely unresolved. We never find out why Simon keeps dropping ominous hints about "preparing" for moon colonies. And in lieu of a proper ending, Laufer cribs the end of Anton Chekhov's The Cherry Orchard. Granted, most audience members won't get the reference, but it's hardly obscure. The Last Schwartz was written a few years before End Days, and it serves as an engaging prequel to that more satisfying effort. It's only later that you realize the character of Simon is in the play primarily to help it fake a conclusion.

The Last Schwartz

through Feb. 19, Thursday-Saturday 8 p.m., Sunday 2 p.m., $32-$35
Harlequin Productions, 202 Fourth Ave. E., Olympia
360.786.0151