Good Heif

Photo/Jim Baldassare

Having loved God's Ear (2007) and Dead City (2006), I had strong hopes for the latest production from New Georges. Unfortunately, I found Maggie Smith's new play, Good Heif, to be as unforgiving as the hot, dry, timeless land it takes place in. The multiple artificialities that make up the script--from the unforgivingly mechanical digging to the equally staccato dialogue--keep the audience at a permanent distance. I relate to Lad's quest for manhood and visions of cool, wet, bubbling holes, but I'm lost by the mythical appearance of a devilish sprite, Ol' Heif. Stuck between the rocky language and hard place of the plot, I could only focus on the excellent acting which, while not always coherent, was at least committed.

[Read on]