benevolent
8 / 10
Goodheart’s direction is the indispensable fifth performance. Having directed McIntosh’s previous three premieres, she understands how to let the playwright’s tonal volatility become an asset rather than a liability. The production can move from a joke about the provenance of a revolting stain to erotic discovery, from buddy-comedy banter to genuine horror, without treating any of those registers as a betrayal of the others. Goodheart allows the 100-minute play room to breathe, even permitting transitions to linger for the sheer pleasure of remaining with these women.
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