Somewhere in the top five key rules of playwriting is this one: the more mystified you leave your audience, the bigger the payoff had better be. In The Baltimore Waltz, Paula Vogel took the risk. Much of that play, with its wild, slapsticky take on spy-movie cliches, seemed to operate in its own heady ozone layer, yet the finale offered a revelation so potent that everything before it was instantly justified. No such luck with Vogel’s latest, though.
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