Quince Productions’ 'Three Days of Rain'

When I learned that the new presentation from Quince Productions, Three Days of Rain by Richard Greenberg, is all about dysfunction across the generations, I cringed. A précis of the plot did little to alleviate my dread, for it seemed filled with all the usual stereotypes and melodramatic structure.

Act 1 centers around the arrogant, intellectually snobbish, and pretentiously moody prodigal son, Walker, and his uneasy relationship with his long-suffering sister, Nan. They are the scions of a famous architect (surely the most pretentious of the arts), who was apparently a bad father. Throw in family friend Pip, who is happy, well-adjusted, and successful, and who willingly submits himself to Walker’s cruelty. Lo, we have a plot, such as it is. Act 2 has the actors playing their characters’ parents 30+ years in the past, allegedly clarifying the true origins of all the issues argued about in Act 1.

Clearly, given their popularity, a lot of people relate to the melodrama of a family-dysfunction play, but I’ll be honest — I don’t. It’s difficult for me to relate to what’s intended to be dramatic or meaningful because if a member of my family talked to me the way these characters talked to each other, I’d walk away, never to return. (In fact, that’s just what I did.)

Strong and nuanced

However, just as honestly, it was clear that Greenberg’s writing (an appealing mixture of erudition and pretentiousness) inspired Quince director Rich Rubin to do some of the best directorial work I have yet seen from him. Rubin guided his three actors with a deft touch that was strong and nuanced, as well as intelligent and empathetic. He managed to guide his cast through the difficult dialogue, helping to make what were written to be unpleasant characters likable and sympathetic.

Speaking of the cast, the three actors (Mark Sherlock, Jessica Snow, and Robert Ian Cutler) were a great pleasure to watch, each pulling out a sophisticated and at times masterful performance, enabling me to enjoy watching characters whom under other circumstances I would despise. If there was a fault in this cast it was that there was a bit too much of the “let’s evoke Tennessee Williams” in the flashback sequence.

I wish I could say that other aspects of this production maintained a similar level of excellence, but alas, no. The various design aspects (set, lighting, and costumes) displayed a shortfall of budget and — in lieu of money — imagination, giving the entire production design an unfortunate garage-level feel.

But that’s easily forgivable. The important thing is that I had the rare experience of enjoying a remarkable rendering of a play I’d otherwise dismiss scornfully.

For Dan Rottenberg's thoughts on dysfunctional families, click here.