Theater Online - New York Theater Reviews

Truth be told, nothing could be more fitting to reveal contemporary southern women than a subtle, traditionally structured comedic drama. So, don't you worry, the Pretty Little Heads production of "Coming or Going" currently at the Manhattan Theater Source is just that..

Set in a small town in west Texas, the play introduces the Lewis sisters, Maureen (Mo), Meredith, Jen and Betsy as they return home for their father's funeral. The girls, who have not seen each other in quite a while, resume their places in relation to each other, as siblings do. Real warmth emanates from the four sisters in the first act, as they gather and talk on the back porch about weight, Wal-Mart and men, but not one word about Daddy. In fact the girls keep a lid on secrets, deep seeded resentments and rivalries, for now.

Mo, deliciously embodied by Amy Dickenson, has been left by her husband, and for three years, has taken care of an ailing "Big Daddy". She is the oldest; genuinely wise and funny, she keeps the peace. Jen, the babygirl ( realized by the very talented Amanda Hilson) is really full grown. She is a school teacher, and currently living with Bryan (Chris Blessitt), long time best buddy of older sister Meredith. While Jen has adjusted her reservations about living in sin, Bryan has cheated and lied. Betsy (believably steadfast as created by Shannon Yocum) is the born again sister, who has found a deep and abiding faith after troubled years at college. She is counting on prayer and God's plan to help her marriage. And Meredith (the beautiful, flirtatious and audacious Tracey Wilson) has understandably lost her faith in that center of godlessness, New York.

All that was hinted at in the first act, erupts in the second, as the sisters, in burying their father, are released from the pull of childhood. Back stabs give way to actual confrontation and the girls ask big questions about fate and faith, loyalty, family, fidelity, love. The writing, direction and performances, especially in these moments are first rate. Each point of view is true to its character and each performer so committed to her part that the resolution, accepting complexity and overcoming betrayal, is particularly satisfying and touching.

This is a heartwarming production, and ‘though the men don't come off very well, it ain't about them.