As the audience settled into their seats (guided by ensemble member Maureen Sebastian, breaking the fourth wall for an “actor acts” moment), and the company took their seats in lightweight chairs scattered across the playing space, everyone seemed to sink into the text simultaneously. The show begins with unsteady footing, a red flag for what is supposedly a contemporary one-act. Barring a few surprisingly magical moments, The Best We Could cuts right to the chase and slices through all the conversations best suited for (a family tragedy), the subtitle of the play. In the New York City Center - Stage I space, this world premiere production uses conversational text and minimalist design to question family, trust, and false hopes. The Best We Could, the new play from Emily Feldman and Manhattan Theatre Club, runs 90 minutes straight through, yet the story stuck with me quite a bit longer.
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