It is equally unwilling to resolve cleanly, always an admirable quality in a play about love. Here dark practicality holds up as least as well as idealism, and in fact they sometimes seem to blur around their edges. "Love," Max contends early on, "is a happy by-product of use." By the end of the play, there seems more than one way he could be right.

Megan Grumbling can be reached at mgrumbling@hotmail.com.

BECKY SHAW | by Gina Gionfriddo | Directed by James Herrera | Produced by Mad Horse Theatre Company | at Lucid Stage, through February 12 | 207.899.3993

< prev  1  |  2  | 
  Topics: Theater , Theater, Theatre, Romance,  More more >
| More


Most Popular
ARTICLES BY MEGAN GRUMBLING
Share this entry with Delicious
  •   THE ELEPHANT IN THE ROOM  |  April 17, 2014
    Snowlion gets dark with a musical tragedy
  •   THE HYDROPHILIC LIFE  |  April 11, 2014
    The very winning world premiere of Underwaterguy , which Underwood both wrote and performs, runs now at Good Theater, under the direction of Cheryl King.
  •   THE PASSIONS OF PRIVATE LIVES  |  April 03, 2014
    Battle of the exes at Portland Players
  •   LEARNING TO HEAR, AND LISTEN  |  April 03, 2014
    The vicissitudes of identity and community are difficult negotiations in Nina Raine’s drama Tribes , dynamically directed by Christopher Grabowski for Portland Stage Company.
  •   THE DEAD DON'T LEAVE  |  March 28, 2014
    The complexity of familial love, regret, and shame, as seen between Charlie, who long ago moved to London, and his simple, sometimes confounding, working-class gardener father (Tony Reilly), are the crucible of Hugh Leonard’s Da .

 See all articles by: MEGAN GRUMBLING