This passive specter immediately brings meaning into everyone’s existence. Davy now has someone on whom to impose his good-heartedness. Joey’s accidental photos of the Guy get him a gallery exhibit. Bruce sees the Guy as a perfect model for jeans ads. Clair insinuates herself into both Joey’s and Bruce’s plans. And Jackie, hurt because Joey’s new-found artistic fervor has caused him to be less sexually attentive, utilizes the Guy’s docile but firm presence to satisfy a basic need of her own. All this swirling motivation would be entertaining if not accompanied by the self-conscious verbal interplay of the characters.
Suffering most from the playwright’s dialogue indulgences are Bretz’s Joey and Fawcett’s Jackie, who rarely achieve any level of comfort with the words they are speaking. Augustine adopts the proper blue-collar persona as Dave but is always a beat out of sync with the rest of the cast. Van Betten exudes the proper sensuality as the mischievous Clair but is saddled with a couple of the playwright’s more embarrassing speeches.
Jim Anzide’s Bruce, however, manages to transcend the script. His hyper, on-the-edge Bruce actually makes Organ’s rapid-fire ad-speak palatable and believable. And then there is Clendenin, whose constant, mildly confused-looking stare is the most appealing dialogue on stage.
The low-budget set design of Ryan Cassidy and Joanne Baker serves the action quite well, as do the lighting of Rob Shirreffs and the sound design of David Hakim. Special mention must go to the very attractive and correct costuming of David King and Julie Carnahan.