May 18, 2010: Playwrights rarely focus on healthy, self-actualized people because, well, that would probably be boring. However, stories about dysfunctional underachievers screwing up their lives at every turn aren’t exactly fresh, especially in this age of quirky character-driven indie cinema. The lauded Chicago import Graceland—which feels more like a Sundance semi-finalist than something that needs to be on a stage—marks Ellen Fairey’s New York debut. The writer has a sharp ear for dialogue and a palpable empathy for lost souls, but heavy-handed symbolism, a weak pivotal performance and an unaffecting denouement hamper whatever grace this show has.
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