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Overexposition: On the Evolutionary Function of Shame
A script that tries to do a lot of explaining.
There are the obvious gestures like the shattered bowl, which would land with an even heavier hand if its identity were clear on stage: It’s the birthday present Adam, a potter, has been making for his father, and the pomegranate is supposed to ping us back to the Garden of Eden. Other than the transparent reason that Mindell also sets part of his play in the days following the original Adam (Jordan Barbour) and Eve’s (Elizabeth Ramos) expulsion from paradise, and such echoes and repetitions hint at theatrical significance even when they’re not really paying their rent. Under Jess McLeod’s direction, the ensemble plays things broadly, which does few favors to Mindell’s tendency to write emcpimters like siblings’ extended spats with the tone already cranked up to maximum cattiness.
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