it is tempting to describe the duplicitous doings of "Villainous company" as a dramatic game of cat and mouse. however that is not a wholly accurate option to signify the play at the moment in its backyard State most effective at New Jersey Repertory company in long department.
No mouse pops up in this story: None among the many trio of shady girls who determine in Victor L. Cahn's quasi-suspenseful diversion might ever be puzzled with timid prey.
Pheonix Vaughn depicts Claire, a flossy woman of comfy capability. because the play begins with a rumble of thunder, Claire returns to her extremely-chic domestic from a rainy afternoon of looking. She is miffed to discover that she left in the back of a purchase at a boutique that sells luxurious goods.
Claire remains on the phone with the shop when there's a knock at her front door. Enter Tracy, a nice younger woman who claims to be an worker from the showroom and who bears the merchandise in question. Clad by Patricia E. Doherty, the costume fashion designer, in nondescript blacks and grays, Melissa Macleod Herion's Tracy appears to be an unctuous little no one.
After Tracy inveigles her method internal the condo and bolts returned a few vodkas, she unexpectedly turns aggressive. The pretty well-counseled Tracy intimates that she is a professional within the surveillance business and begins to query Claire regarding the numerous useful tchotchkes that she collects.
The businesses the place Claire relentlessly shops are close foreign airports, observes Tracy. Is contraband being smuggled in these old clocks and figurines? Or could some of the costly objets d'artwork which are displayed in Claire's white-on-white lounge represent samples from greater caches of purloined treasures stashed somewhere else?
For all of her good breeding, Claire is no pushover. She bristles at Tracy's assertions. indeed, Claire starts to suspect that Tracy may be some form of a rogue operator intent upon furthering her personal features.
About halfway during the exhibit's seventy five-minute court cases — the brief play unfolds in precise time without an intermission — the contents of Tracy's purse have been strewn across the carpet and Tracy has been stripped to her brassiere as Claire inspects her for maybe concealing a recording equipment.
unexpectedly intruding upon this provocative tableau is Joanna, Claire's shut buddy and might be her partner in crime. Sleekly dressed with somber big difference, Corey Tazmania portrays the aristocratic Joanna as one very cool client except she is challenged through Tracy.
To element any longer of Mr. Cahn's plotting can be a spoiler and, past a number of extra twists, there definitely isn't an awful lot to notice about this slender piece of leisure, apart from the sensible staging it's been given by SuzAnne Barabas, the director.
The lin gering pauses with which Ms. Barabas punctuates the tersely written dialogue lend a further soupçon of suspense and even some unspoken sexual anxiety to the story.
The appearing style, which is heightened a little past natural, complements the play's artificial nature. So does the somewhat surreal surroundings for Claire's lounge, designed through Jessica Parks. Lighted with a blend of well-nigh surgically shiny whites blended with blue accents through Jill Nagle, the otherwise stark area aspects a marvelous array of bric-a-brac that engages the eye even because the problematic play now and then eludes logic.
nonetheless, if Mr. Cahn's storytelling isn't altogether coherent, he neatly resolves the play with a double pass (or perhaps even a triple cross) of a conclusion that ties up his agreeable lit tle caper with a nifty bow.
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