Ouch. Unlike in her very well done NICE GIRL, which is also on now at Labyrinth, here Ross is writing about a demographic group she does not know, and most everything rings false. Forgettable sitcom characters and trajectories. Removing the f-bomb would shorten the play by about 50%. All smoke, no fire.
Sometimes subdued, restrained storytelling is all we need. On one of New York’s great small stages (one that is all too often buried knee deep in artificial profanity), Melissa Ross spins a touching and true portrait of something real. Wonderfully rewarding night in the theatre with top performances all around.