The problem is that they have few goals or needs other than sex. Marie’s boyfriend, Bubi (Matthew Sheehan), wants to sleep with the always-serious Irene (Lili Barsha), who is jealous of Desiree’s wealth and status as a duchess.
Desiree’s boyfriend Freder (Jason Adams) secretly beds the maid (Holly Orfanedes) and turns her into a happy hooker. Desiree really wants Marie. A tutor named Alt (Burr Steers) watches it all.
If you don’t read in the playbill (or here) that most of the characters are doctors, you might miss the fact, as there is little in their manner to suggest it. They are unlikable kids, a dark stone’s throw from “Melrose Place.”
While the action mostly takes place in Marie’s room, the set design by Marsha Ginsberg looks to be the remnants of a dairy or whatever was left over in the warehouse that is now a theater.
Unfortunately, the action appears as if through a strainer. Ends of sentences are often lost to the reverberation of the hard-surfaced and cavernous space.
The light design by Geoff Korf reinforces the chilly feeling. While director Bart DeLorenzo seems more concerned with didacticism than in emotions, he does draw from his cast a sense of pushing things to the edge and a belief in his vision.
A highlight are the vignettes set in today’s world, written by Valerie Ellis and Chris Campbell. In a modern psychology lab, Dr. Saltzman (Campbell) performs hilarious experiments that aim to find the source of people’s extreme behavior.
Also on the positive side, the seats are comfortable, and the sound system superb. Both the theater and the ensemble offer much potential. While the troupe may have misfired with this — erring on the side of “boldness”– one can sense seeds of a dynamic group.