What I liked
I don’t even know where to start. Kazmierowicztrimm’s script is funny when it can be and devastating when it has to be, a mark of a strong writer who understands the peaks and valleys of everyday life. I was on the edge of my seat as the play drove ceaselessly towards its crushing conclusion. The tension that Lanier and her team of actors built on that stage was nothing short of revolutionary. Tourtellotte, Kuza, and Felts have an unparalleled chemistry that is requisite for relationships as complex as these. All three of them felt like realistic human beings and not characters, all exceedingly flawed and yet still very, very sympathetic. There are not saints here, but no demons either. Lanier has extricated every ounce of these superlative actors’ abilities like Michelangelo carving a figure from a block of marble. From the moments we’re introduced to the adorably worldly apartment we’re living in for the next 80ish minutes to the heartbreaking finale, you won’t be disappointed. You will be changed. You will be thinking about this long after the final blackout. You will be dreading that “What could be improved” box on the Fringe review page.
What I didn't like
A louder baby monitor. That’s literally it. That’s all I’ve got for you, semi-obligatory constructive criticism section.
My overall impression
A top-of-the-line production team and cast invites you into the rawest moments of three peoples’ lives in the wake of life-changing events. The care and craft poured into this production by every hand that touched it is palpable. Even if you paid full price for a ticket, you’re getting a discount for what this is worth. An unflinching look at how the ripples of war echo through peacetime.
