THE PLAY: A man wakes up after being in a coma and has forgotten most everything from the past 11 years. He doesn’t remember his lover, which actually pleases his mother, who never liked him.

THE PRODUCTION: This script aspires to be a sardonic version of British drawing room comedies, but the writing didn’t provide the actors with sufficient sharpness or funny moments to achieve that. The first act moves very slowly with dialogue that keeps repeating the same information. Even though Jacqueline Jones tried to capture the imperious dominance of her character with cold stares and dry delivery, she was more mean than funny. Todd Patterson, as the lover, was often too soft vocally, which made him hard to understand. It wasn’t until Carlen Kernish’s character wakes up that the play starts to come alive (literally and figuratively). Not only was he the only one with a convincing British accent, his delivery lightened up the atmosphere and created the majority of the script’s few comic opportunities. Director Lucian Restivo, who’s usually accomplished at creating slick, assured productions, was at a loss to help give the play the pluck it needed. Dasia Gregg’s set was a serviceable hospital room, although it felt out of proportion and weirdly appointed. The mural was truly ugly, which undermines what’s being said in the script. Running time: 2:10

THE POINT: Hampered by writing that faltered more than it succeeded, this production suffered a similar fate.

(2.5 / 5)

 

At Richmond Triangle Players and on demand thru 5/22