The new Danny Robbins play offers thrills and chills and some philosophizing.
What is a ghost really?
A supernatural terror, a manifestation of our fear or our grief, something benign or far more sinister?
Craig Schwartz
The play itself perhaps wants to have its ghostly cake and eat it too.
Is it a philosophical debate or a horror story?
There’s no reason it can’t be both.
Craig Schwartz
This may be more a fault of Matthew Dunster’s direction than Robbins' writing.
His expertly pitched Boston accent gives him a specificity of time and place that the other characters lack.
Like near-ghosts themselves, the other three float through the action.
Craig Schwartz
Rothenberg is the only stolid presence here.
As the play ratchets up its terrors, Wu and Camp sink into their roles more decisively.
They both arrive at cataclysmic climaxes, and they carry those moments with a sense of shock and awe.
Craig Schwartz
It’s a lovely notion, one far friendlier than the malicious intentions of a poltergeist.
It’s genuinely scary, a haunting piece of art in the literal sense.
