John Ventimiglia - Meital Dohan

Playwright Anthony Neilson has written two characters that are seemingly in love but feel the need to argue and disagree on everything.  The unlikely premise allows Neilson to give Abby and Stu free reign in their actions, their language and even their feelings.  It’s sort of a retread story – a beautiful prostitute (not too jaded yet) meets a “john” who eventually falls in love with her and she with him and they set up house together. There’s the inevitable pregnancy, and the nagging doubt whether or not the child is his or if she has gone back to “work” behind his back.

Trust is a big issue here and she’s not sure he’s ready for a baby.  He vacillates because he’s not sure she is ready to be a mother.  To keep the peace he often gives in to her whims, and she gets angry because he gives in. He gets angry because she gets angry and when they get tired of being angry they find something else to argue about.  By now you begin to figure out that this story is going to be about people who don’t know how to express their love other than by insults, screams and arguments.  Then the twist comes.  What comes next is completely unexpected and the reason for the title becomes clear in a most grotesque manner.

Were it not for the superb acting by Meital Dohan and John Ventimiglia this story might not pack the powerful punch that knocks the audience for a loop with the raw emotions they project.  You almost like these two characters even if one wonders what kind of man would use the service of a hooker on a regular basis or what type of woman would justify trading sex for money.  Not that one is prudish, but let’s face it - - - these are not your everyday folks here. 

Besides making you cringe at some of the scenes director Timothy Haskell makes you work to keep up with the story as scenes shift from present to past and back again, depicted only by costume changes by the actors.  Haskell not only throws their dysfunctional behavior in the face of the audience – he makes us voyeurs by having the actors change costumes in supposedly dark corners of the stage – hidden in plain sight of everyone.  Thus completing the metaphor that we are privy to the most intimate areas of their lives.

When you see this play you will witness fights, physical attacks and primarily mental violence.  You’ll wonder if there are people who actually behave as these did and there can only be two outcomes.  You’re either glad you’re not like them and don’t know anyone like that - - - or you’ll go home pondering about it.  If the latter is true, you better run – don’t walk, to the nearest psychology center and hope it’s not too late.

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Plays through April 5, 2009 at

Lillian Theatre
1076 Lillian Way
Los Angeles, CA
(323) 962-0046

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