It is growing in prestige and dimension. Ziegler sets his tale on native soil, in Virginia's Blue Ridge Mountains, in an antiquated cottage lovingly brought to life by Invisible Theatre's James Blair and Stuart Moulton. The only signs of the modern world are a toaster, a phone that doesn't work, and the sound of a developer's bulldozers bearing down on the old farmhouse and ancient apple orchards an ailing Grace signed over at the bank's urging. She doesn't hear the terminally cheerful voice of one Gloria Whitmore blowing through the unlatched door like an unexpected autumn gust. Grace takes in the clacking of her guest's formidable high heels and conversational hardball, narrows her eyes like a mule, and immediately begins to argue.
Grace demands after their initial interview.
Following the aphorism that laughter is the best medicine, this exchange marks the first dose of confounding irony administered regularly throughout Ziegler's wonderful script. Gloria's comical fear of life commands far more attention than Grace's stubborn fear of death, but the two hold equal sway as Ziegler simultaneously pokes fun at and deepens our understanding of death and dying. His prodigious writing talent sketches characters as familiar as they are adaptable, entertaining us with their exterior lives as he subtly leads us into their interior ones. It's a delicate balance, made all the more heartwarming by its imperfect results. These veteran actresses embody their characters beautifully, turning their scripted poise and city-country contradictions into a range of emotional, and ultimately hopeful, exchanges that are deeply touching.