The new play, which seems to touch on themes related to Marie Robson, feels like an unpredictable journey. It features two childhood friends, Jen and Dean, who have a bit of fun by heading to the end of the line, where they observe people at the airport. There’s something relatable about their casual storytelling, a blend of memories and anecdotes, particularly as they chat about dogs on the metro.
As they inch closer to expressing deeper truths, the atmosphere transforms—Matthew Tucky’s soundtrack thumps while Drummond O’s strip light flickers, and the familiar yellow decor and blue-gray upholstery of the subway vibrate with the arrival of an incoming train. It’s all quite immersive, really.
However, I think it’s a bit limiting to label this a play solely about sexual assault. Sure, there are moments that explore the blurred lines between friends at a party. Robson’s writing dives into the nuanced feelings surrounding consent, longing, and the challenges of articulating such intricate topics.
Without justifying Dean’s actions, the playwright portrays his transgression as a tragedy that impacts both characters. Throughout several subway rides, we uncover not just the incident itself but a wealth of accompanying thoughts and emotions.
Directed with a subtle touch by Maria Crocker, the production highlights the genuine charm of Sarah Balfour (as Jen) and Dean Logan (as Dean). They’re more than just friends; they’re young individuals navigating their connection before fully understanding themselves. Their performances convey sincerity and warmth, encompassing a range of emotions from humor to wisdom.
