If the script of a play is a blueprint, then its journey from page to stage depends not only on the playwright, but also on the vision of the director, the actors, and the production team. In the case of Brenda Withers’ play, Off Peak, at the Great Barrington Public Theater, the collaboration of these artists has transformed a thin, high-concept comedy into a warm-hearted, offbeat tour de force.

Withers is an American playwright, actor and co-founder of the small Harbor Stage Company on Cape Cod, which she runs with a group of friends. Prior to Off Peak, Withers wrote The Ding Dongs, a surreal, menacing comedy, whose mystery is slowly unravelled. Though Off Peak (in its New England Premiere) has a different comic tone, it also begins mysteriously. A man (Kevin O’Rourke) races into a Metro-North railway car approaching the only other passenger: a woman wearing headphones (Peggy Pharr Wilson), whom he addresses loudly by name until she is jolted into noticing him.

In an interesting twist, the woman, Sarita, recognizes the man, Martin, with whom she had an intimate relationship seventeen years earlier. But the mystery remains: why is he there, what does he want, and what has he been doing all these years? Vague about his life, Martin reveals his mission: to apologize for taking advantage of Sarita, who cared for him emotionally and financially during their time together. In a role reversal of the Metoo movement, Martin takes the blame for his part in our patriarchal society and his disrespectful behavior towards Sarita. In an additional role reversal, Sarita does not see their relationship in that way: it was her choice to remain living with him. Because of mechanical difficulties (an obvious but effective contrivance), the train becomes stuck between stations, giving them the opportunity to continue the conversation, argue, revive old memories, and find out who they are now.

The railroad car is verifiably, authentically designed (by Sasha Schwartz) according to the playwright’s specifications. In 2022, Withers had often ridden in such a car to Westchester County, where her play was commissioned and performed by the Hudson Stage Company. But although the dialogue is also realistic, “structured the way people talk,” says O’Rourke in an interview with the Berkshire Eagle, the plot leaves many unanswered questions, subject to the interpretation of the performers and director (James Warwick).

It is hard to imagine a more perfect cast. Wilson’s reactions to O’Rourke’s sudden intrusion on her current life with her live-in boyfriend vary from shock, to awkwardness, to rage, to frustration, to tears, to the hurt of lost love and perhaps to forgiveness. It was Martin who left Sarita, and that sting will never fade away. Only a single monologue reveals her long-buried feelings for him but how beautifully and painfully Wilson delivers it. O’Rourke’s Martin is still a child, no matter how many times he insists he has changed, grown up, consulted therapists, or dons stylish, chic clothing (as opposed to her more casual, hippie-inspired outfit—both designed by George Veale). He appeals to her maternal feelings with his victimhood, his oft-repeated mea culpas, even his diet, behaving selfishly despite seeking her approval. The fights that must have happened in the past are revived—she has always been the responsible party, this time seeking help on the stationary train, while he is as oblivious as ever. What a joy to see the give
and take between these two remarkable actors!

James Warwick, also an actor, has shown himself to be an astute director in Shakespeare & Company’s production of the Berkie award-winning A Walk in the Woods last year, where he worked with Jonathan Epstein and Allyn Burrows, two other exceptional actors. One can only assume that Warwick must provide an atmosphere of trust, creativity and compassion where performers feel free to make discoveries, build their characters, and find physical and emotional connections.

Credit must be given to Jim Frangione, the Artistic Director of the Great Barrington Public Theater, who took on the unseen role of the train conductor. Working with the Sound Designer, Jacob Fisch, Frangione’s comic rendition of muffled announcements whose essential words can’t be deciphered is priceless, funny, and oh-so-true. Lara Dubin’s lighting, with its blinking and blackouts, indicates an ancient train that obviously didn’t get the benefit of Biden’s infrastructure funding.

Theater is about collaboration and this team has proven how meaningful that can be. OFF PEAK runs from July 6—July 23 at Daniel Arts Center’s McConnell Theater at Bard College at Simon’s Rock, 84 Alford Road, Great Barrington, MA. For tickets call 413-372-1980 or online at GreatBarringtonPublicTheater.org.

Great Barrington Public Theater presents OFF PEAK by Brenda Withers. Director: James Warwick. Cast: Kevin O’Rourke (Martin), Peggy Pharr Wilson (Sarita), Jim Frangione (Voice of the Conductor). Scenic Design: Sasha Schwartz; Lighting Design: Lara Dubin; Sound Design: Jacob Fisch; Costume Design: George Veale. Production Stage Manager: Valerie Bijur Carlson.