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As the occasion wears on, however, Sloane can't help but reveal what's foremost on her mind: a pressing desire to have a baby before her 30th birthday ("It's tragic when a woman exits the universe without popping one out") and a request for Brandon's compensated services as sperm donor, absent any more serious living arrangement or commitment.
While it's made clear before too long that the public schoolteacher could definitely use the money, his lack of enthusiasm regarding the proposal only serves to launch Sloane on a campaign to change his mind; a seemingly misguided endeavor that involves repeated and unwelcome visits to the classroom workplace of the increasingly standoffish "Mr.
Although the play is most interested in Brandon and Sloane's relationship, the spark between Techler and Trow never seems genuine.
Happily, Doug is the play's most interesting character, as Delaney shows him to have found unexpected levity in his trauma.
TOM CHESEK, CORRESPONDENT October 24, 2016 It's a spectacle that boasts hopelessly immature frat-boy behavior and dredged-up memories of sexual assault.
A possibly gold-digging "model" from an Eastern European locale, and an ambitious young woman moving up in her daddy's business.
None of these stories is as developed as it could be, as the play labors to cram all its ideas into ninety minutes.
They're well served by the prolific director Evan Bergman, who's skippered so many of the company's memorable forays into ensemble comedy-dramas, and who finds a real warmth at the heart of this script.
The play offers that even if "true love" remains an elusive commodity in these tense times, things can perhaps work out with a little understanding and a lot less cynicism.
It's this same sort of straightforward logic that guides his interaction with Katerina (a vibrant Brittany Proia), who may be a prostitute out to swindle him, but may also be a genuinely kind woman.
As an emotional wanderer more or less at the whim of his emotions, Delaney's Doug reveals the essence of Smith's play.