Gardner Church is a famous poet in decline professionally, mentally, physically. Fanny Church is his wife -- devoted, somewhat ditzy, dismayed by the reduced income and health that dictate they must move from Beacon Hill to a beach home. Daughter Mags completes their dysfunctional family.
A portrait painter about to hit the big time with an exhibition in NYC, Mags makes a rare appearance during her parents’ final packing to leave. She intends to put them on canvas and include it in her show. Mags longs for them to take her and her art seriously, just as Fanny wants her to comprehend the difficulties her parents are facing.
Author Tina Howe, through Melliss Kenworthy’s authoritative way with the Church family’s (perhaps) final crises, lays bare their entire lives and relationships. The actors persuade us we’ve come on the journey with them to this point before they reach their last home.
Don Walker turns in such a realistic portrayal of the failing -- but not a failure -- Gardner that we want to keep track of his future. Jenny Aldrich’s Fanny and Olivia Williamson’s Mags both win our sympathy, as well as our satisfaction with their conclusion. We’re happy to wait to see if complaining gives way to the exit flourish Fanny’s coveted.
Chris McVicker’s set suggests elegance that’s giving way to exigency. Ross Boehringer’s costumes properly contrast the characters. Fanny’s important hats are memorable. Joseph Oshry’s lighting and Steve Lemke’s sound design complete the Brahmin aura at the end of a family era.
