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"She had created her own little world and invited me to it," says Alex in Jonathan Tolins' "Buyer & Cellar," Pygmalion's stylish current production.

Alex is an out-of-work L.A. actor, and he is talking about his new job as caretaker of Barbra Streisand's "dream refuge," a unique set of shops in the basement of her mansion. Streisand has accumulated a mass of "stuff" during her career and decided that constructing this "street of shops" was the best way to showcase it.

The shops, which range from a doll display to an antique emporium to a "dress shop out of 'Gigi,' " crammed with costumes from her performances, to a frozen-yogurt store, are real; Tolins' play is not. Inspired by Streisand's 2010 book, "My Passion for Design," which documents her extravagant creation, he decided to imagine what would happen "if somebody had to work down there," dusting, watching over everything and interacting with the glamorous and quirky proprietor when she unexpectedly chooses to make an appearance. "Buyer & Cellar" is the resulting flight of fancy.

Aaron Swenson's performance creates the third level in this magical mall of invention. He is asked to embody not only the flamboyant, fastidious Alex but the cast of characters he meets on his journey into Streisand's world. It's hard to imagine anyone who can rise to this challenge as well as Swenson. From snippy, snooty Sharon, Streisand's secretary, to Alex's alternately fascinated and disapproving boyfriend, Barry, to the enigmatic, manipulative Barbra herself, Swenson consistently finds ways to make each character distinct and entertaining.

Alex feels himself increasingly sucked into Streisand's strange, surreal shopping mall. He gives names and histories to the dolls, experiences "religion rapture" when he stands before the evening gown Streisand wore to sing "People" in "Funny Girl," and play-acts with her when she ventures down to shop. One evening he even gets to meet her crusty husband, James Brolin.

Barbra seems to like Alex, although he admits, "Ours was a somewhat unequal relationship," and Barry warns, "She's not a real person. … She's not your friend." It's anyone's guess how his adventure will end. Alex only knows it will be "aspirational — the special comfort of the totally impossible."

Teresa Sanderson's fluid, straightforward direction keeps Swenson moving from the set's platform stage to interact with the audience, and the cabaret seating intensifies the intimate feeling that he is sharing a special experience with us. Andrea Beecher's simple white set glows against Jesse Portillo's brilliantly colored backdrops. Mikal Troy Klee's soundscape subtly punctuates the silence in the basement with the soft lap of ocean waves, the hum of the yogurt and popcorn machines, and Streisand's footsteps as she comes and goes to her sanctuary. Streisand songs play before and after the show.

"Buyer & Cellar" is a little too long and has no deep messages to impart, but watching Swenson re-create Alex's story is reward enough, and Tolins' observations are pithy and clever. "Buyer & Cellar" capitalizes on our dual fascination with gossip and excess. —

'Buyer & Cellar'

Aaron Swenson's constantly inventive and entertaining performance makes Pygmalion's "Buyer & Cellar" worth a visit.

When • Reviewed Friday, Nov. 6; plays Thursdays through Saturdays at 7:30 p.m. and Sundays at 2 p.m. through Nov. 21, with an extra matinee Nov. 21 at 2 p.m.

Where • Leona Wagner Black Box Theatre at the Rose Wagner Performing Arts Center, 138 West Broadway, Salt Lake City

Tickets • $20; $15 for students and seniors; 801-355-ARTS or arttix.org; pygmalionproductions.org

Running time • 95 minutes (no intermission)