These two realities are marked on stage by jagged displays of flashing neon lights and sounds of ripped electricity.  It is a jarring, frightening twist of realities.  Then, as the play approaches it’s conclusion, we are introduced into a third reality in which Ana is a writer looking back over her true past and her idealized past and trying to reconcile the two with the help of an awkward ex-Morman who brings the joy and tenderness back into her world.  

The men in the play are wonderfully different and Ana is played with a simplicity and a finesse that is quite captivating.  The story of abuse leading to abuse and the damage that step-families can wreak is an ooh too familiar story but it works here.  I do think the play suffered in its final scenes with trying to over-explain the fact that the play was both real and imagined and that the scenes may or may not have been imagined.  We really didn’t/shouldn’t have needed this help appreciating the play.   It was wonderful to see new work on stage and support a buddying playwright.