A futuristic, politically aware take on law school, Mary E. Goulet's "Old Words, New Words" impresses with an intriguing, ambitious first scene; unfortunately, it then fails to fill in the dramatic blanks.
The play begins in a law school circa 2030, where the intimidating Professor Sand engages four students through that peculiar form of sadism called "the Socratic method." The scene takes a while to develop, what with various discussions of legal minutiae and very little in the way of character work. Then we begin to understand that the playwright is presenting an apocalyptic future in which law after law is passed to foster "family values." As Sand interrogates the students on the constitutionality of each statute, Goulet presents a plausible and witty scenario in which laws are passed forbidding divorce, forcing marriage after childbirth, and even putting identifying marks on married couples to prevent infidelity.
Sand focuses on a particular student named Alice, who appears to relish the confrontations, albeit nervously. After class, he offers her a job as they share their despair with the current state of the law. At this point, the mystery of the play recedes and didacticism overwhelms the dialogue, which becomes ponderous and forced.
Director Jesse L. Kearney's young cast tackles the dense dialogue competently, articulately parsing the legal arcana. After they deliver their dialogue, they sit idly by on the side of the stage, effectively using the very small space. Kearney also plays Sand but offers a mixed performance, showing the necessary edge but lacking presence. There is little chemistry with Sarah M. Wilson, who is quite believable as Alice. The other actors are credible as well, especially Laura Heidinger, vivid both as Ms. Angler, another law student, and Alice's mother.