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Anita recently lost her son Vincent in a brutal hate crime. He was beaten to death in an abandoned railway station bathroom, known as a hotbed of homosexual activity. In the three months since his death a young boy has been following Anita, and finally she invites him in. It seems Davie is the one who found Vincent.s body and called the police. He has been following Anita in some vain hope of resolution. As Anita talks to him, she begins to suspect that he knows a lot more about Vincent.s death than he.s telling her, and as she draws him out, we find out just how intertwined their lives were.
It.s a brutal, at times claustrophobic play that explores the high price of keeping secrets. Actors Deborah Findlay and Mark Field have a great chemistry together, and they resist the temptation to play their characters as types (the grieving mother; the confused kid). Their relationship, even before we know the full extent of it, is finely nuanced. Findlay is a master at relaying the complex emotions of Anita, especially at the end, when she must deal with an onslaught of new information. Sometimes it.s better to leave questions unanswered.
Writer Philip Ridley is a master at dispensing information a bit at a time. Although there.s no real action in the play (just two people talking for 85 minutes), the stakes and the tension remain high, keeping audience members locked in. The ending is especially well-written; it.s surprising but, upon reflection, exactly right. Director Steve Marmion keeps things tight and crisp, allowing us to tumble down the slope with Anita and Davie, while the spare set design (Harry Scott) and lighting design (Aaron Spivey) keep attention focused on the unfolding surprises.
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Playbill 2007-08 Yearbook
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