David Mason, Beth Fowler

Coble taps into a timely topic as many families struggle with what to do with their aging parents, especially those who may be suffering from dementia or Alzheimer's disease, or even those whose physical frailties make it increasingly difficult for them to be left on their own. It's a scary proposition for the elders when they see their kids usurping their independence, bit by bit. What's a parent to do? In the case of Alexandra (Fowler), she barricades herself inside her brownstone with an arsenal of homemade Molotov cocktails that could easily take out a city block, demonstrating in no uncertain terms that she would rather die than abandon her right to make her own decisions about her remaining days.

After drifting away from the family twenty years earlier, Chris (Mason) crawls through his mother's second-story window with a mission to make her see the error of her ways, but he is forced to look at his own life choices and the impact they had on those he left behind. Over the course of about ninety minutes (without intermission), mother and son confront the past in an effort to resolve the future. Their conversation is at times humorous (Alexandra may have some memory issues, but she still has a sharp wit), at times cutting, yet always inflected with the kind of intimacy that can only be found within family relationships. The roles are frequently reversed as the son cajoles his mother and is exasperated by her recalcitrance, only to then roll his eyes and accept her scolding for some youthful transgression. Fowler and Mason interact like two accomplished tennis players volleying shots across the net at each other in a long rally, neither willing to cede the point.

The down side of this conversational format is that it is basically a standoff, and Alexandra's living room feels more claustrophobic with each passing argument. The array of bottles, each filled with flammable liquid and sprouting a wick, looms large, especially as she ominously waves around an old cigarette lighter. The windows on the upstage wall frame the colorful leaves on the limbs of Alexandra's favorite tree, reminding us that there is life and air outside of this dingy, airless abode. However, the play feels like it is held hostage to the limitations of the lives of its characters. Mother and son have both been disappointed by the options that were available to them, and now lack the vision to see any choices other than death or capitulation to the wishes of others.

The Velocity of Autumn ran for 22 preview and 16 regular performances on Broadway in April, 2014, but it may be better suited for the regional theater circuit. The Skip Greer-directed production in Dennis shows that two fine actors can convey the emotions in the story and they certainly connected with the audience at the performance I attended. Nicholas Dorr's set was greeted with applause when the curtain went up, and lighting designer Erik Fox augments the confining nature of Alexandra's space. Wig designer Dave Bova and costume designer Christina Selian help to define Chris' stuck-in-time persona and Alexandra's artsy fashion sense. Sound designer Dan Roach coordinates numerous phone calls that come into the apartment, and Veronica Aglow is the stage manager. The play runs through June 27th at The Cape Playhouse in Dennis Village.

The Velocity of Autumn, Performances through June 27 at The Cape Playhouse, Dennis Village, Cape Cod, MA; Box Office 508-385-3911 or capeplayhouse.com.

Written by Eric Coble, Directed by Skip Greer; Scenic Designer, Nicholas Dorr; Lighting Designer, Erik Fox; Costume Designer, Christina Selian; Wig Designer, Dave Bova; Sound Designer, Dan Roach; Stage Manager, Veronica Aglow

Cast: Beth Fowler, David Mason

Photo: Mimi de Quesada, The Cape Playhouse