This season, the UW School of Drama One-Act Director’s Showcase presents the work of two first-year MFA student directors. Two light, comedic plays of one scene apiece are staged back to back in the round at the Penthouse Theatre, featuring both MFA and undergraduate actors.

The night begins with American Century, written by Murphy Guyer and directed by Paula Bennett. Set in the early years following World War II, the play follows an optimistic American couple dreaming of the wealth, happiness and children the future has in store.

Just as they begin to make their dreams of parenthood a reality, they are interrupted by their soon-to-be son visiting from the future. As he proceeds to recount the less-than-ideal lives they will inevitably lead, the play becomes a reflection into the nature of fate and a rumination on the power people have over their future.

American Century is a genuinely funny play.

Its beauty lies in subtly humorous surprises and not-so-subtle generational references. Bennett does a fine job of setting the tone such that the play really feels like a quaint period piece that has been rudely intruded upon by a bumbling baby boomer.

Michael Rash delivers a tickling performance as the high-strung, neurotic disappointment of a son while Camille Thornton-Alson’s delicately naive portrayal of the mother is done with a wonderfully humorous charm.

The second play of the evening, Jean Giraudoux’s The Apollo of Bellac, takes place in the lobby of a patent office and follows the efforts of a young Agnes (Amy Frear) seeking employment. Unsuccessful, she takes the advice of a strange old man in the lobby. He tells her the secret to getting anything she wants from a man, and, with this knowledge, Agnes effectively shatters the glass ceiling.

Director Alyson Roux embraces the comedic nature of the play with a farcical touch. As the male characters are transformed from bureaucratic trolls by Agnes’ charm, they not only change demeanor, but they also break out into dance.

Patrick Cullen’s part as the mysterious man with the secret gives the play its requisite backbone. His character is quirky, and kindhearted, both interesting to watch and fascinating to listen to. Frear lives up to — and perhaps surpasses — the enchantment required of her character by the script.

The production highlights the soft comedic nature of the play. The whole act is underscored by meandering orchestra music, giving the action an almost soap-operatic air. It’s a wonderful device that brings the whole play together.

The plays are fun and the acting is spot on. Together, American Century and The Apollo of Bellac make for a lovely night of tight, well-conceived, lighter-than-air comedy.

Reach reporter Trevor Pendras at arts@dailyuw.com.