Dorothy, Rose, Sophia and Blanche

It's hard to believe that it's been 25 years since the four ladies from Miami known as "The Golden Girls" went to sitcom heaven. But their spirit lives on in repeats, drag shows, a new Manhattan restaurant, and now here in Rhode Island at Epic Theatre Company with "Dorothy, Rose, Sophia and Blanche."

Kate Lester justly directs this original work by Epic Artistic Director Kevin Broccoli that revisits the four titular characters, but not necessarily how fans of the show remember them. "Dorothy, Rose, Sophia and Blanche" doesn't pick up where the show left off (which would admittedly be a tough task considering the dreadful "Golden Palace" spinoff), nor does it presuppose what they would be doing now.

Instead, the play presents a series of stand-alone vignettes, each with its own premise and in no particular order, chronologically or otherwise. Imagine if Dorothy had cancer, or if Rose were an internet personality. What if a demented Blanche lived with her gay son, or if Sophia were really a young woman? Suppose Dorothy, Rose and Blanche were reality show stars?

The sketches explore the answers to these (and several other) probing questions and present alternative scenarios that are mostly ridiculous, strangely confusing or needlessly heavy-handed. I wanted so much to enjoy these ladies' adventures, but the shifting perspectives and storylines were more exhausting than engrossing. Nevertheless, there were laughs aplenty, and the actors wholly and seamlessly embrace their characters, as well as their distinct temperaments.

Michelle L. Walker shows tremendous spirit and integrity as gutsy Dorothy. Whether she's locking horns with Sophia or setting her other roommates straight, Walker's Dorothy is never anybody's fool.

Speaking of fools, Mary V. Case is an absolute delight as the emptyheaded albeit lovable Rose, whom the audience can always count on to surprise them, and she delivers magnificently. The segment featuring her as a podcast host is the show's highlight and reminds us that perhaps Rose was just na�ve rather than stupid all along.

Mary Paolino is admirably playful as oversexed Blanche, who has a perpetual twinkle in her eye (as well as the best lines in the script) that always lets the audience know what's on her mind, and a diligent, dexterous Megan Ruggiero plays Sophia, the most challenging role in the cast given her multiple personalities. Although the beloved Sophia who speaks freely and shoots from the hip is mostly absent here, Ruggiero's earnest portrayal is just as endearing.

As the lone male in the cast who takes on a multitude of dubious roles including television producer and concerned son, a resplendent Michael Shallcross displays formidable stage presence and steals every one of his scenes. Without major change in appearance, each of his characters is equally colorful and convincing.

Despite my disappointment, I applaud the playwright for such an original, unexpected approach with source material that masses of loyal fans consider sacred and untouchable. "Dorothy, Rose, Sophia and Blanche" raises an interesting debate and asks the audience whether a renowned work of art should be left well enough alone in its original form, or if its popularity or longevity subsequently warrants revision, reinterpretation, reintroduction -- or none of the above.

"Dorothy, Rose, Sophia and Blanche" runs through August 26 at The Academy Players, 180 Button Hole Drive (Bldg 2) in Providence. For information and tickets, email [email protected] or visit http://www.academyplayersri.org/epic-theatre-company.html