As the second play of its premiere season, the Center Theatre Group at the Kirk Douglas Theatre is offering the world premiere of American writer Jon Robin Baitz's latest play, "The Paris Letter," a three-act drama that deals with homosexuality as a national and personal problem.

  At times compelling and thought-provoking, the production -- despite the quality acting of its onstage ensemble -- seems scattered and somewhat adrift and more like an intriguing and ambitious work in progress than anything else.

All of it is set between the years 1962-2002 in various places around New York and Paris. Credit Michael Brown for the simple yet effective set, Alex Jaeger for the appropriate costumes and Christopher Akerlind for the lighting design.

Where "The Paris Letter" goes astray is in its plot structure, drifting from the personal to the social-political without really integrating the two elements.

As a personal statement, "Paris Letter" tells the story of Sandy Sonenberg (the wonderful Ron Rifkin), a middle-aged wealthy investment banker with a sense of decency and social conscience, a loving and adoring wife, Katie (Patricia Wettig is first-rate), a gay stepson, Sam (the compelling Josh Rador), and Sandy's gay best friend, Anton (the eloquent and wise Lawrence Pressman).

All seems right with Sandy's world. Until a younger man, Burt (the beguiling Neil Patrick Harris (news)), comes into their lives. Burt also is a financial adviser, ruthless, aggressive and gay. And as the play evolves, Sandy, who has seemingly suppressed his own gay identity in order to live a socially acceptable lifestyle, becomes involved with Burt. And Sandy has to deal with the consequences of deception. So much for Act 1, the personal statement.

Act 2 flashes back to 1962, when a young Sandy (Radnor) is involved in a homosexual relationship with the witty and sophisticated young Anton (Harris). While Anton is comfortable being who he is, Sandy is guilt ridden and wants to conform to the so-called norms of society. So he goes off to visit Dr. Moritz Schriffman (Rifkin in full Viennese accent), who promises to help Sandy become "normal."

With this claim by Schriffman, author Baitz makes his social-political statement, which turns into a full-blown discussion of homosexuality as a social condition and not a pathology. Suddenly, the focus is shifted into debate mode, and by the time we get back to Sandy's "who am I?" search in Act 3, we are completely outside the critical onstage action that involves Sandy's coming to grips with who he is and how he relates to those who love him. And the damage is irreparable as the play suddenly shifts from our guts (in Act 1) to our minds in Act 2. One is theatrical, the other rhetorical.

And despite the savvy direction of Michael Morris, stellar acting and some flashes of brilliance, "Paris Letter" is still something of a real artistic hodgepodge.

Cast: Burt Sarris/Young Anton: Neil Patrick Harris; Anton Kilgallen: Lawrence Pressman; Sam Arlen/Young Sandy: Josh Radnor; Sandy Sonenberg/Dr.Moritz Schiffman: Ron Rifkin; Katie Arlen/Lillian Sonenberg: Patricia Wettig.

Playwright: Jon Robin Baitz; Director: Michael Morris; Set designer: Michael Brown; Costume designer: Alex Jaeger; Lighting designer: Christopher Akerlind; Sound designer: Adam Phalen; Original music: Nathan Wang.