This much is clearβa woman and a man dressed in business attire escort another woman into a room, much like any office space complete with a table, chairs and a water bubbler. And so the conversation beginsβ¦and turns. The audience learns that Three and her family were victims of something horrific, so much so that her hands still continue to shake three years after the incident, and the perpetrator is a client represented by an agency that employs One and Two.
As for the unfortunate episode that Three managed to survive, and who exactly One and Two are working forβwell, the playwright chooses to be vague on those fronts. Most importantly, Three has to make a choice, while One and Two anxiously await her decision.
Throughout most of the minute running time, the atmosphere is breathtakingly ominous and the interplay is awkward and cringeworthy.
Three delivers a series of heated albeit darkly poetic tirades that profoundly convey her continuous suffering, yet One and Two maintain their stoic, transactional disposition, acknowledging her trauma yet unapologetically determined to accomplish the task at hand.
Morris is magnificent as the consummate foot solider, Two, dutifully spouting facts and figures when asked, yet seemingly nervous and uncomfortable. Melozzi is superb as the more experienced One, who diligently behaves personably and tries to appear sensitive while continually toeing the line.
