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In these hothouses, the play a study in pressure flourished.
This more is hidden than shown quality pervades every part of Morisseaus script, even her character list.
Its not always obvious which Off Broadway shows will blossom in a venue like that.
In the drafty hall, Morisseaus carefully banked fires start to flicker.
Its 2008, and the last sheet-metal-stamping plant in Detroit is on the brink of closing.
Retirement package be real different for 29 years versus 30, Faye says wearily.
Even after decades as the shops union rep, Faye has already fallen over the financial edge.
She has started spending nights in the break room because its too cold to sleep in her car.
When he begs her not to tell the union that the shutdown is imminent, she keeps his secret.
I know everything about this place, says Faye.
The walls talk to me.
The dust on the floors write me messages.
Theres perhaps too little of that kind of musicinthe scenes, but its a welcome element between them.
In a huge factory, for some reason, Faye is the unions only point of contact and information.
The production, too, rests on Rashads presence.
But then, when Rashad turns her head suddenly, she looks like a queen.
Rashad might seem to stop being Faye in these moments, but it doesnt break the show.
She takes on the spirit of the underlying play, becoming something like the personification of labor itself.
Skeleton Crewis at the Samuel J. Friedman Theatre through February 20.
