Eighteen-year-old Brian has written fan letters to Avalyn. He is intrigued by the fact she has had the same experiences as him. Those experiences, including 'lost time' in their childhood, would seem to indicate one logical conclusion they were abducted by aliens and experimented on. Meanwhile in New York, Neil is being harangued by his fag-hag friend Wendy for drifting back into hustling, and his persistent hunt for sex with older men. These two strands of this well crafted play eventually collide in as disturbing and heart-rending a climax as I have seen.Adapted by Prince Gomolvilas from the 1996 novel by Scott Hein, Em-Lou productions here present one of the best pieces of writing on the Fringe. We find out early on that Neil (excellently played by Rick Kissack) had 'consensual' sex with an adult when he was only eight. This at first doesnt seem to have unbalanced him in anyway. Back in Kansas Brian, however, seems a nervous wreck, sensitive to any physical contact, but especially terrified of sex. In the middle of the play theres an extraordinary simultaneous staging of Avalyns sad attempt to seduce him and Neils brutal rape by one of his many punters (all played excellently by Paul Standell). It is this rape that precipitates Neils return to Kansas where he discovers that Brian has been trying to track him down they played little league baseball together.When the truth about Brians 'lost time' emerges it is both disturbing and very, very moving. Needless to say he wasnt abducted by aliens, but was the victim of terrible abuse by his coach (and we infer Avalyn was by her father). Though this in itself is not a particularly surprising reveal by the time we get there, Neils own involvement in the scenario is truly shocking. The final gesture, with which he attempts to make right the past, is devastatingly simple and the moment played perfectly by both actors under Peter Darneys nuanced direction.This play, and taboo subject matter, handled by a less talented director and cast could be disastrous. This company allow the writing to breathe, never going for the easy melodramatic moment or milking the emotion. Were left to make our own minds up about the rights and wrongs of the situation, and though the wrongs clearly outweigh any rights, there are some interesting ideas raised about the nature of consent and of love.This is a terrific production, professional in every sense. Danny Worters is heart-breaking as Brian, with brilliant support from MyFanwy Warings Avalyn. Leanne Rowe is terrific as Wendy, playing many other parts, each distinct and different. The show is marred only slightly by this tiny and awkward playing space which is wide, very shallow and renders some of the blocking ugly. Things are considerably eased by Mike Lee's clever set, which at least affords proper entrances, and aids the transitions between the fast flowing episodes. This is theatre for grown ups. Stunning.
