By Jana Rivera WHEN WAS THE last time you took a trip through your subconscious? You know, make a stop in the guilt department before moving on to the irrational fear section before you head on to anxiety and, your final stop, hopelessness. If it's been a while--or if you can't seem to get out of your subconscious--step out and join Ted Franklin on a wacky journey through his subconscious (or is it his reality?) in The Upstairs Theatre Company's production of Guilt, one of two Michael Grady one-act comedies now playing in the Temple of Music and Art Cabaret Theatre. Ted Franklin thinks he's having a nightmare, but you know how some nightmares turn out to be reality. Either he's feeling guilty about murdering his wife, or he's feeling guilty about refusing to play in his wife's bridge tournament. He's not sure. According to the detective interrogating Franklin, it's both or either. As long as he gets a murder confession on one spool of tape, he doesn't care. After all, he works for the guilt department. But he did go to a lot of trouble to set up this little subconscious exercise for Franklin, and he would appreciate a little cooperation. Grady keeps us laughing and guessing as we watch the guilty Franklin, played by Dean Mauel, frantically attempt to exit his nightmare one minute, and confess to all crimes of guilt the next. Mauel's manic behavior keeps his character on pace in a fast and clever play staged with quick and keen comedic timing under the direction of Tucson theater veteran, Howard Allen. Michael Putman plays the guilt department detective with Mike Hammer 1950s flair and Allison deLeon, a Tucson newcomer, gives a spunky performance as attorney Simmone Rogers. In the second Grady comedy of this double feature, Long Distance Phone Call, we enter another situation of altered reality with Stanley and Lou, two young men answering phones at the E.I.D. Network, a crisis hotline for people who believe Elvis lives. Lou, a self-sufficient atheist, and Stanley, a love-everyone born-again Christian, argue about Nietzsche between phone calls from regulars who've seen Elvis in the frozen food section of the local grocery store. As the stormy night wears on, some mysterious happenings occur, all centered around the disappearance of the third hot-line worker who may have been sucked into the phone, a phone call from Elvis, and the appearance of either a really big street cleaner or a UFO. Scot Williams and Tim Koch, who portray Stanley and Lou, play well off one another, again under Allen's direction, in another fast-paced piece demanding excellent timing. Although Long Distance Phone Call doesn't produce as many laughs as Guilt, it's not less entertaining. Grady obviously takes his comedy seriously, and he does more than hit us with quips and one-liners. There's nothing terribly profound here, but, at the very least, I'd credit him with provoking some thought. For its third production in as many years, The Upstairs Theatre Company offers a professional product. UTC hopes to attract a young audience to theater in a community that presently seems apathetic and indifferent to theatre arts outside of major productions. Let's hope artistic director Anthony Runfola is successful in bringing new life to Tucson theatre. The Upstairs Theatre Company's production of Guilt and Long Distance Phone Call continues nightly through January 13 at 8 p.m. at the Cabaret Theatre, Temple of Music and Art, 330 S. Scott Ave. Tickets are $7 adults, $5 for students, available at the door. For information call 791-2263.

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