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Music, family, love: These things dont free her characters but force them into submission.
The brutal thing becomes that she cant bring herself to.
The same goes for two of the other three Dahl children.
Sears, once he arrives, gives the play a bolt of energy as he bounds around the stage.
Rasche, somewhat challenginghisSuccessioncorporate-hanger-onimage, opts for a genial warmth that obscures emotional absence.
The gunpowder is saved for the fighting about religion.
Faith and familial love, for these characters, are both a reflex and a crutch.
What was your first drug?
Mark asks Loren in a quiet late-night tete-a-tete that haunts the play.
My mother, she says.
I never wanted to leave her side.
The actors, under Jacinth Greywoodes music supervisor, achieve tight vocal harmony.
But by that point, harmony itself looks like a very dangerous thing to chase.
Cult of Loveis at the Hayes Theater.
