Caroline Wolfson and Michael Innocenti play Nancy and Bob whose past-midnight fight sets in motion the dramatic interactions pulling in all the other characters. Wolfson and Innocenti are deliciously comfortable in their acting skins and expertly navigate the journey between full-throttle exposure and embarrassed privacy. Innocenti especially has a face that can portray angst and bewilderment more than any actor on the Washington scene.
Peter Finnegan plays Gene with a walk drawn from Brando in On the Waterfront and a hit man’s itch to keep his finger protectively on a trigger. He touched me with his struggle to pull himself out of his limited blue-collar world view, while his reactions…showed marvelous comic timing. Allison Corke nailed the abrasive self-confidence and restlessness of a privileged co-ed Grace…yet the actress can throw a switch and demonstrate off-balanced vulnerability nicely.
Allan Sean Weeks’ lighting design coalesced the three rooms and worlds in the play nicely. Kelly Peacock coordinated the lingerie wardrobe and managed to create a comfortable, realistic palette and feel to the costumes.”
… I loved the burning ferocity [Timothy Lynch] displayed in the fight to right the wrong done to a fellow “tribe” member. [Kevin] Hasser, as Gene’s brother and Grace’s therapist, portrayed that quirky exaggerated positivism of many in the “helping profession.”
Colin Smith directs the play with an emphasis on pacing and verve. Despite the explicit sexual subject matter, he has not gratuitously exploited the performers and indeed handled all matters of costuming and stage action with discretion.
