LA Theater Review
Bhutan
Foote's characters are expertly drawn, and the situations are dynamic, but the play is awkwardly constructed, moving back and forth from past to present. And we're kept frustratingly in the dark about certain facts: We know from the first that Warren is in prison, but it's not until the final scene that we learn how and why he got there.
Director Elina de Santos has assembled a top-notch cast and deploys the actors with a keen awareness of the play's nuances. Stocking's Mary tries fiercely to hold her family members together, despite their eagerness to break free. Windley neatly captures the wistful spunkiness of the daughter eager to escape from her family. Naggar explores the desperation of a young man who invests his whole identity and all his hopes in one woman, with disastrous results. And Lockwood provides a finely etched portrait of a disappointed woman giving in to blowsiness and drink and captures a good many laughs along the way.
Set designer Mark Guirguis supplies the cheery New England kitchen, which belies the emotional storms that surge through it.
Presented by and at Rogue Machine, 5041 Pico Blvd., L.A. Oct. 23-Nov. 21. Sun., 7 p.m.; Mon., 8 p.m. (855) 585-5185. www.roguemachinetheatre.com.
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