At first there doesn't seem to be much to look forward to in watching an hour's worth of post-dinner conversation among four people in a restaurant. But generally witty dialogue, a series of self-revelations, and some engaging performances soon change all that. Comedy writer/performer Michael Blieden scripted and co-stars in this one-act examination of sex, love, fidelity, and morality among a quartet of thirtysomething types struggling with whether they are on the right path in their lives. All of them--plus the waitress (Kathleen Roll)--are relationship-challenged, and as the wine flows, the secrets spill. And suddenly it's clear that no matter how well you know someone, there are always surprises to be had.
First let's get the lineup right. When the confused waitress asks who is with whom, Melvin (the delightful Blieden) explains that he knows Joey (Matt Price), Joey is friends with Alex (Stephanie Courtney), and Alex is a longtime pal of Sarah (Annabelle Gurwitch). Circumstances, clarified later in the show, brought them together for dinner, but by the time the check is paid, relationships have changed and things will never be the same again.
Blieden's writing demonstrates an ear finely tuned to the chatter of contemporary dialogue, though occasionally he takes a story a step or two too far. In Alex's case it's her tale of accidentally killing a child who had dashed out in front of her car and her resulting spiritual connection with the little boy's ghost. Yes, it's supposed to stretch the bounds of credibility for the three other characters, but the audience still has to buy it.
Director Steve Rudnick keeps the pace quick and lively, though it would help to open up the seating arrangement just a bit. Sitting house left, I most often saw the back of Gurwitch's head. Too bad I couldn't see more of her facial reactions; however, her performance was a strongly relaxed complement to Blieden's. Price and Courtney had their moments as well but were not quite as assured as their partners. It also wouldn't hurt to deepen the emotional levels of some of the major revelations to provide some stronger contrast.
The title, by the way, comes from a story Melvin tells about a schizophrenic man in an emergency room who tells a wild tale about how he became injured. Its connection to the show is tenuous, though, and could stand to be slightly filled out. Should Blieden make some adjustments, no doubt they will be as entertaining as the rest of the show.