A couple of other characters pop up. Billy (Marc Dante Mancini) is a young actor who performs with Annie and is promptly smitten with her. Debbie (Betsy Rinaldi), who gets only one brief scene, is Henry's 16-year-old daughter, the usual handful.

As expected, the performances here at the Sandra Feinstein-Gamm Theatre are top-notch. Gleadow has to laugh, has to cry, has to run the gamut in between and does so admirably. Kane's Annie and Bassham's Charlotte both come across as intelligent, complicated women who convey much between their lines. But this is Henry's play, and Estrella is superb, given enough time by director Sullivan to clearly convey the character's complicated emotions in quiet moments that punctuate the proceedings.

Near the conclusion, Henry shares with us a wonderful rumination, saying among other observations about the heart that there's no trick to loving someone when they're at their best, that it's when they're at their worst that matters. By that time we have witnessed so many examples of the latter that we'd have to be terribly unobservant to disagree.

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Related: Talking ’bout a revolution, Review: The Gamm's masterful Doll's House, Theatre that ran the emotional gamut in 2010, More more >
  Topics: Theater , Tom Stoppard, Tony Estrella, Jeanine Kane,  More more >
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