Review: THE COUNTER at 4th Wall Theatre Company

The Counter by Meghan Kennedy tells the tale of Paul and Katie, two people longing for connection but unsure how to take the first steps toward creating one. Over time, they begin opening up to each other, sharing their secrets and histories, and eventually engaging in “tough talk.” From there, we are along for the ride as they are pulled deeper into a beautiful emotional connection.

I really do love a simple two-person play, where we are introduced to characters and watch as they build a connection, react to each other’s choices, and eventually succeed…or fail. This production has that slow burn that draws you in and keeps you paying attention, watching closely as even small facial expressions or body movements hint at what is going on in their minds.

Faith Fossett and Orlando Arriaga play brilliantly together throughout. What initially starts as a seemingly friendly daily server-customer relationship builds, twists, and turns into a true bond. These two people are very different, but they are both longing for connection, having exhausted their attempts at living solitary existences. Fossett’s Katie is no-nonsense yet courteous, slowly melting into genuine feelings for Paul. She accomplishes this with such a smooth evolution that by her story’s climax, we are nearly in tears with her. Arriaga’s Paul brings a frank, slightly silly energy to his daily interactions with Katie, which we soon realize hides long-held pain…and an even more complicated request. This is my third time seeing Arriaga, and I continue to admire how he gives his characters (each so different) a light, jovial undercurrent that runs beneath the surface.

Director Christy Watkins, who also makes a one-scene appearance as Peg, clearly demonstrates the focus on simplicity and truth she discusses in her Director’s Note. The freedom she gives her cast to explore the past experiences that shaped these characters is evident, especially in the many silent moments of the play — both individually and when they share the stage. As Peg, she has only a short scene, but brings a beautiful openness that gently supports the deeper connection forming between Katie and Paul.

The 4th Wall space is perfect for this type of play: wonderfully intimate. Scenic Designer Tatiana Vintu has transformed it into a café/diner that feels both universally familiar and specific to this story at the same time. The production and design elements are so seamless that you barely notice them; instead, you find yourself comfortably pulled into the world of the play.

In the first third of the show, there is a slight sense of unhurried pacing. As the story unfolds, it becomes clear that this is allowing for careful character and plot development, laying the groundwork for the more emotionally charged exchanges that follow. Once the tough talk begins, the rhythm shifts and the play finds its momentum, carrying us forward with greater urgency. It is a patient build that rewards attention.

Through no fault of 4th Wall, the play concludes without offering full resolution. While that lack of closure is clearly intentional on Kennedy’s part, it may leave some audience members, myself included, yearning for just a bit more time with these characters. After becoming so invested in Katie and Paul, I found myself wishing for even a few additional moments of what might lie ahead for them. That lingering question, however, is also part of the play’s quiet power, keeping the story alive beyond the final curtain. And perhaps Kennedy has a second part in mind, but if not, I am sure Fossett, Arriaga and Watkins could work something up. That is something I would be front row to see!