DYING CITY at the Bathhouse

Mr. Schmader's review doesn’t give nearly enough credit to Shana Bestock’s performance. The most engaging aspect of her work is that she never resorts to the usual clichés of female grief.

Her character, Kelly, does not learn of her husband’s death on stage; she has been mourning for a year. The horrible revelations toward the end of the play arrive like aftershocks, dreaded expectations finally confirmed.

A lesser actor would have pulled out the stops and given the audience a lot of standard wailing and thrashing, skewing this play into cheap melodrama. Bestock is smarter than that. She delivers a real person, someone who has to grieve and suffer entirely alone. The incompleteness of her grief is the very core of this story, something essential to an understanding of our current wars.

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