Megan Grant, a photojournalist back in New York after a stint working with the displaced people of Kosovo, learns that her father is missing. She and her estranged son find a box of old photographs, many featuring the missing father as a child, often with his mother and father. These pictures lead to a series of flashbacks that move from Ellis Island, where the hopeful family arrived from Ireland in the late '30s, to the Photography Department in New York's Museum of Modern Art. Your guess is as good as mine. Aside from the ambiguity of the flashbacks, the show doesn't even serve up ripping-good melodrama.
Credibility is also in short supply.
Megan walks into MoMA with neither an appointment for an interview nor an application but instantly lands a job in the Department of Photography. Then the woman is asked to put one of her photographs into a MoMA exhibit. The grim earnestness of the material defeats the talented production staff at the Portland Stage. Bill Marx is WRNI 's arts critic. Boston University .