The first act of Daisy Foote’s Himis rather confusing. There are three siblings: a mean and very cranky sister (the always vivid Hallie Foote), a gay brother (the often mono-tonal Tim Hopper) and the severely retarded brother (Adam LeFevre, in a nuanced, believable performance). Also, there is a dying father upstairs. All play out their lives, part of it restraining LeFever, and then, suddenly, at several spots, each actor assumes the identity of a narrator in a spotlight, including LeFevre who is suddenly not retarded, and then we go back to the characters and the interplay. No explanation.
LeFevre brings home a retarded girlfriend (a winning Adina Verson), and as Foote, with no reason that I could see, tries to stop their interaction and fun, we move on. At intermission I saw a number of people with their coats and things. I asked several if they were leaving, and they said they were — the play was too confusing. It’s too bad they left— they missed the drama in Act 2 as things are somewhat explained.
A box of the father’s journals is revealed, and the narratives are readings from them. LeFevre gets the girl pregnant. We find out the father’s environmental concerns for land he owns and the financial insecurity and aims of the daughter (Ms. Foote). The drama does build.
So, a flawed play, rather well acted by a cast who all give a proper New Hampshire tone to their speech, on Marion Williams’ fine set, nicely lighted by Tyler Minoleau, with appropriate costumes by Teresa Snider Stein, well directed by Evan Yionoulis.
