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        Its situation is as right as it is wrong.  Dialogue flows the way real people talk and if there is poetry in it that poetry emerges through situation and character, not from a pen intent on setting a time, place and need. Its rhythms, pauses, hesitations, and philosophies speak mountains in minimalization.  When, at the end you stand up ready to leave the room, you pause and take a breath as though you had been in that room, had endured that confrontation and could now find your way in the world unaided by well-meaning strangers.

        The dialogue by debbie tucker green doesn'r seem to have been written down at all but feels improvised and natural and genuine. It is a written script, however, and that is part of what makes this pay so special. In the hands, and out of the mouths, of three special actors the reality of what is said becomes even more realistic.  Kristin Wold, as One, leads the play with the most banal and simple lines and she sets the tone for the evening. One is an official and she has her methods, her agenda for how to lead her guest into and through the experience ahead. She is ready to handle any variation which might occur and she has control over what might become emotional but hopefully won't. She is the perfect government executive,, dressed for the occasion - or any occasion - and well-prepared for the human elements that could confuse the event. Wold is superb, her voice well-modulated and peaceful. Her body language is reserved and cool.  She seems ready for anything but she still needs some mental reassurance as she reserves her ammunition for as long as possible.