Graydon Clarke, Mary-Ellin Brooks, Jessica Alden, and Joe Marshall Photo by Rhonda Sigler-Ware

This is one of those plays in which the less you know about the plot the more you will enjoy it. It starts out in 1981 at a bar in Chicago, and the set design and props are spectacular. Cubs memorabilia is everywhere, along with old beer signs, a Wurlitzer jukebox, and an old pinball machine. If you're not from Chicago, you might not get why there are Bob Newhart albums on the wall. (He was a born and raised Chicagoan. I went to the same high school he did, 25 years later).

Thirtyish Jamie is closing up the bar when an older man walks in and begs to be allowed to stay for a while, just to talk. Jamie's girlfriend Abby comes in after her waitressing shift at the IHOP down the block, and the rest of the first act (except for the last few seconds) is a conversation among the three. It has a Twilight Zone vibe as we come to realize who the mysterious older man is and what is the purpose of his visit.

Much more is revealed in the second act, after the older man's wife joins the group. I don't want to give any spoilers, but I could mention that Mr. Grennan's website says that this play is based on the obscure word énouement, which he defines as "wistful sadness at not being able to tell your younger self what you now know."

The dialogue is often funny, sometimes sad. The ending is heartwarming but not cloying, and several audience members had watery eyes near the end. This well-written play moves briskly, coming in at about two hours including the intermission.

Robin Havens-Parker has cast the piece with good actors and directs them fluidly. As I said, they are all new to me, and I hope to see more of them on local stages. Graydon Clarke (Jamie), Jessica Alden (Abby), and Joe Marshall and Mary-Ellin Brooks as the older couple all inhabit their characters in a natural manner, not stiff, not showy. The play has obviously been well-rehearsed.

Ms. Havens-Parker also designed the set, which I raved about earlier. Credit also goes to Linda Wilson, the scenic painter and props designer. You wouldn't think a show like this would need many technical effects, but the sound design by Riley Lewis plays an important part. Lighting by Lapis Kesselring also is effective. Shannon Flynn is the technical director, and Rhonda Sigler-Ware stage manages.

Not every little-known play is worth seeing, but this one deserves a wide audience. I'm glad the Adobe took a chance on it.

Now and Thenruns through February 9, 2025, at The Adobe Theater, 9813 4th Street NW, Albuquerque AZ. Fridays and Saturdays at 7:30, Sundays at 2:00. Also, Thursdays 1/30 and 2/6 at 7:30 for $10. Saturday 2/8 at 2:00. For tickets and information, please visit adobetheater.org.