Forgiveness is the virtue that struggles to achieve unanimous approval. Liars, cheaters and practitioners of the serious offenses are likely to concede in a candid moment that their behavior is contrary to the Golden Rule.

But refusal to freely pardon another for his harmful actions is a gut impulse that people not only justify. They celebrate it.

Benny Silverman has been carrying a bitter grudge for nearly 30 years in Jeffrey Sweet's engaging 1984 drama "The Value of Names." A successful comic actor, he was blacklisted during the communist hunting McCarthy era when a friend and colleague mentioned his name in testimony before the U.S. House Un-American Activities Committee. Make that a former friend and colleague.

Stage and screen director Leo Greshen told the committee that Silverman had attended meetings of left wing organizations. The latter's career came to a screeching halt until the country's communist paranoia ebbed.

After almost three decades of rancorous contempt for Greshen, Silverman finds himself face to face with his nemesis. The unplanned meeting provides an opportunity to forgive or at least set aside the anger. How the actor responds is the play's dramatic climax.

Next Act Theatre opened a crackling good production of "The Value of Names" last weekend.

While Greshen's testimony damaged Silverman's good name, and the blacklisting blew a hole in the middle of his career, the comic actor ultimately built a lucrative life in television sitcoms. The Malibu ocean view home to which he retired attests to that.

The story is set in motion by Silverman's daughter, a New York actress who is staying with him while rehearsing a West Coast production of a play. She slips in and out of a narrator role in "The Value of Names."

When the director of the daughter's show suffers a stroke, he is replaced by Greshen, and she agonizes over whether she should drop out of the project. Greshen's betrayal occurred before she was born, her relationship with her father is rocky, and she weighs being loyal to dad against ignoring the bad blood and going on with her job.

Sweet did not tilt his play for or against Greshen and Silverman settling their differences.

Greshen doesn't even ask for forgiveness. He simply wants to make peace. Silverman is not exactly eager to grant it.

Each character -- they're fictitious -- makes cogent arguments for his past behavior and present attitudes. Each character clearly has flaws. Neither is particularly likable.

"The Value of Names" also raises the issue of great artists not always being great people. It's more of a tease than an exploration, and one wishes Sweet had further developed the idea.

The excellent Next Act cast, under David Cecsarini's direction, contributes much to the play. Robert Spencer's Silverman combines the required comic sensibility with a prickly testiness that superbly suits the character. We get the impression that this Silverman is a quick witted but ornery fellow who knows how to deliver a punch line to the funny bone as well as a verbal punch to the stomach.

John Kishline's portrayal of Greshen is the finest work I have seen him do in 30 years of watching him on stage. He is marvelously still, natural and contained as a man whose confidence is built on pragmatism, not the admiration of others. This is a beautifully nuanced performance.

Silverman's daughter also benefits from skillful acting here. Kelsey Brennan infuses her with a crisp intelligence and energy.

The California backyard deck set designed by Rick Rasmussen strongly evokes the Malibu location. "The Value of Names" continues through May 2.

Getting Along with Mom

The Boulevard Ensemble Theatre is closing its 24th season with a series of sketches about mother-daughter relationships titled "It's Your Mother!" Written by New Jersey theater artists Patricia Durante and Betsy Tuxill, the 80-minute show is performed in a single act.

Boulevard founder and artistic director Mark Bucher is using a cast of 14 females and a lone male in the production, and they are frankly better than the material. The skits tend to be bland and predictable, although a few chuckles and poignant moments are produced.

"It's Your Mother" runs through May 9.

Clements directs Sondheim 

When veteran Milwaukee actor and musician Tony Clements came off the road after years of touring in "Mamma Mia," he and his partner settled in New York. But the Waterford native quickly developed an aversion to the cattle call auditions in the Big Apple, and he frequently returns to Milwaukee to work.

Clements has added directing to his portfolio of skills, and he is currently in town staging a production of "Sunday in the Park with George" for the Marquette University Department of Performing Arts. College theater programs generally don't tackle Stephen Sondheim musicals because they are a rigorous challenge for young performers.

"Sunday in the Park with George" will run April 15-25 at the Helfaer Theatre on the Marquette campus.