Ideas and emotions

By BILL RODRIGUEZ  |  March 17, 2009

As riveting as Carpenter's scene is, fraught with grief in the wake of the death of one of the men, Overly finally speaks, and soon we're overwhelmed once more. Overly is remarkable in this play and astonishing in this scene. That's not simply because she delivers an emotional tour de force, but also because it's such a nuanced progression of feelings particular to this character. By the end of the scene, the hyper-rational Grace is on her knees, screaming that she deserves scorn for not having averted the death: her vaunted reason should have ridden to the rescue, argued him out of danger in the first place.

The Gamm production of Grace is the kind of theater where non-theatergoers discover what they've been missing and become devoted attendees. The play loses us here and there, going back and forth in time, but by its conclusion we end up where we ought to be: Shaken, thinking, and talking about the experience with anyone who will listen.

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