The play includes a series of dream sequences. Entering through a jagged opening in the sliding panels backing Judy Gailen’s pop-art/op-art set, Anne Scurria’s teenage Myra at first appears to be a leather clad zombie until we learn she’s the school slut happily sleeping with whole football teams. Scurria’s Myrna, on the other hand, is a prissy goody-two-shoes, though she quickly reveals her nasty side, which includes coitus decidedly interruptus with her aching boyfriend Jim (played by Phyllis Kay who later plays Myra’s lesbian lover). Naturally Myrna drives Jim into Myra’s bed (all of this taking place during the Eisenhower administration).
Next come the Nixon years in which Myrna has become a homemaker with a teenage son and more than her usual psychological problems after being subjected to shock treatment. Meantime, Myra has become a peace-movement bank-robbing terrorist on the run from the FBI. She and Myrna’s son Kenny (Dan Welch) escape to Canada.
Finally, the Bush years, during which the “good” Myrna blossoms as an ultra-conservative radio talk-show host and author of “Profiles in Chastity.” She is violently opposed to multiculturalism. Myra, with a loving lesbian lover and a gently gay teenage son, is deeply involved in Planned Parenthood. Following the Planned Parenthood bombing, the play offers a healing glimpse of Myra and Myrna coming to terms with each other (and giving non-stop Scurria a chance to catch her breath in her demanding double-role).
There’s nothing subtle here, in play, direction or acting, though there is vigor and, at times, shafts of insight and lurid humor. But the fact that the two parts of “The Mineola Twins” are as ill-matched as its titular characters is a major drawback. Rewrite? Throw out the first half? Or what?