![]() The bathroom attendants seemed stressed and strident as well, ordering the women’s restroom line into conformance and hustling attendees into stalls without the friendliness of past seasons. Ironically, it reminded me of the military guards present at the festival as the von Trapp family performed before fleeing the Third Reich. ![]() It felt intrusive and distracting, but it is one way to enforce the safety precautions as the pandemic surges. ![]() A stern nod and a gesture were the only enforcement measured employed with scofflaws. The Fisher Theater, which now has paid – as opposed to volunteer – ushers, had them walk the aisles several times during the performance, in formation, one usher per aisle, to check for patrons in violation of the mask mandate. It may not be the type of show you’ll hum the songs from, but it tells a powerful story, even if the plot is deceptively simply. “Doubt Comes In” reminds one of the insecurities present in even the strongest relationships, and “Road to Hell” begins and ends the show with raw energy and power. There is political symbolism, as well: “Why We Build the Wall” could have been ripped from recent headlines. ![]() The second act is faster paced, and packed with action and intensity, as one sees the relationship train wrecks inexorably approaching. The first act starts out slowly, then builds in intensity, making audience want more after the intermission.
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