Nosy and suspicious, resentful of perceived assaults on his dignity, and arguably an even odder creature than the others, [Bradley Foster] Smith’s Mervyn gets one of the show’s two best monologues, having to do with monkeys and high school massacres. Playing perhaps the most thoroughly lost of these meandering souls, Smith also creates a poignant moment or two for his character.
The other outstanding monologue belongs to [Mark A.] Rhea, as Carmichael talks at length to his equally unbalanced mother, having to explain, among other things, that the fact that he has a black man in his hotel room does not mean that his racism has lapsed. Reminiscent of Coen brothers-style characters, Rhea’s Carmichael can be perfectly straightforward and even logical-sounding in his explanations of his absurd quest and his murderous intentions.
…the bumbling con artists Toby and Marilyn try various unsuccessful ways of talking their way out of their unhappy situation, readily blaming one another for their plight… [Manu] Kumasi’s Toby tries bravado and fast talk; [Laura] Herren’s Marilyn tries cuteness…
Director Colin Smith keeps the characters distinct, the ensemble playing smooth, the timing crisp, and the physical comedy flowing… Carol Baker and Katrina Wiskup also deserve credit for believable set dressings…and excellent, well-used hand props.