A mournful, touching but rather solemn ninety minutes.
As masterful as Cromer's direction is here, I wonder if Samuel D. Hunter's existentialist play might have been served better by a lighter touch. Hunter's play makes us puzzle together the relationship between the two men as it progresses. We don't get a clear picture of the deeper intentions of the characters at the beginning but as those intentions slowly move into focus Hunter's elegant formal and thematic conceits about the passage of time and the meaning or meaningless of life start to share the stage with the game of finding out what the characters actually want and it's a bit of a pile up.
The character of Ryan seemed pretty clear to me but Keith, the Mortgage Broker, kept evading me. As wonderful an actor as Kyle Beltran is, I wasn't sure where Keith's overwhelming need to foster and care for a child came from and found the character less convincing as the equally wonderful Will Brill's Ryan.
Nearly every moment is given great gravity, something I usually appreciate in Cromer's direction but here I felt that it announced, austerely but emphatically, that portentous themes were in the air. I would have liked to have been a bit less prepared for Hunter's slow narrative and philosophical reveal.
I'm happy I saw it. Was it worth nearly stepping into a large pile of human feces waiting for me on the first step of the stairs to the subway station? I don't know. I really don't know...