“★★★★ Sharp, funny writing, which pulls absurdity from the mundane... Their interlocking monologues are hilarious, and their opposite approaches to life have us immediately invested ... Lori Elizabeth Parquet has fantastic comic timing as Dora, all wide eyes and barely restrained energy ... Carolyn Mraz’s design is simple but effective, with the symmetrical touches making Jane’s arrival feel more invasive. Chris Chappell’s jazz-style composition and Asa Wember’s sound design enhance the darkly chirpy, surreal mood, while Derek Wright’s lighting washes the stage in pinks and oranges as time passes. Director Jess Chayes has done a remarkable job of pulling everything together and it is the comedy that enables the emotional punches to carry so much weight. This is a strange reflection on female friendships, loneliness, rejection, denial and the need to find yourself. I won’t forget it in a hurry.”

“★★★★ I’m hooked by the quirky charm of this play. I was impressed by how such a serious issue was handled in a manner both sensitive and whimsical.”

“Jean Ann Douglass’s The Providence of Neighboring Bodies will remind you of our absurdist-in-chief Edward Albee. ... As Albee did so violently to the sanctity of families, Douglass does to female friendships... A surprising and wicked little concoction. ... Douglass’s play seems like a sweet little woodland creature, but it’s got needle-like claws ... Douglass has a fine poetic ear and the actors are full of comic invention. ”

“Full of [the] elegant absurdity and poetry of everyday life. ”

“An astounding piece of theatre! Powerful text, strong direction, brilliant design, and phenomenal performances. .... Smart and heartbreaking and agonizing. ... Jean Ann Douglass has written a sophisticated text ... makes for compulsive viewing. ... extremely satisfying. ... Douglass’ writing is remarkable ... Director Jess Chayes has crafted an exquisite gem full of nuanced moments and potent character interactions. Her gifted hand can be seen in the clever staging and perfectly paced tension lines between the character’s inner turmoil and outward facade. ... Lori Parquet as Dora has the most sensational ability to visualize and take you along for the ride. ... She totally hypnotizes you with her visual gaze. You can read every emotion and thought in her dilated pupils. She played the sensual, self-absorbed Dora with hedonistic pleasure and commanded the space with her vitality. ... Amy Staats as Ronnie was brilliantly neurotic. It felt like she might spontaneously combust from all of the pent up repressed energy she has been weighed with for her entire life. She played a fantastic tight, held counterpoint to
Dora’s languidness. Staats is a magnetic performer that has created a heartbreaking character that’s on the very edge of the cliff, about to snap and leap off. I loved the interplay between these two powerhouse actresses. ... Dinah Berkeley as Jane was a quirky, instantaneously lovable character. Berkeley gave us a well-observed physical characterization for Jane with a great ability to play the melancholy under the sunny façade. She was totally engaging in the role of the outsider, trying hard to fit in with her cheerful disposition and heartbreaking naivety. ... Carolyn Mraz’s set design was exceptional. ... This is an intelligent production that has stayed with me. ... a brilliant satirical
metaphor that will ensure its longevity as a defining text.”

“Delightfully beautiful ... delectable writing ... a quirky dramedy that strikes the right chord. Douglass has an innate ability when it comes storytelling. There’s a specificity to the characters and how the talk to one another and to the audience. There’s a heightened sense of theatricality that Douglass infuses into her play and even when the story takes a surrealist turn, Douglass’ voice is still prominent. Monologue plays are hard. Douglass has destroyed that notion... As Dora, Lori Parquet bubbles optimism with a radiating smile... Parquet is a natural storyteller, with a soothing vocal. Give her a phone book and she’ll make it sound like poetry. Directed by Jess Chayes, The Providence of Neighboring Bodies was a consistently touching. Chayes allowed the words to marinate as they floated through the space. She insured Douglass’ specificity of dialogue told the story that was found on the page. ... The Providence of Neighboring Bodies is a rare beauty. Jean Ann Douglass has crafted a play that exemplifies human connection in a manner that is subtle yet profound. ”

“★★★★★ A fable wrapped not-so-tightly inside a comedy that will have you literally laughing-out-loud””

“★★★★ An incisive examination of the disunited state of America, Jean Ann Douglass’ sharp script hones in on the reality of loneliness and the perceived threat of “the other”... Lori Elizabeth Parquet is utterly captivating as Dora ... Amy Staats’ Ronnie is beautifully awkward ... The Providence of Neighboring Bodies is both extremely funny and provocative, using the absurd to point out the thorny underbelly of bigotry and xenophobia while highlighting how isolated we are in the current political climate. Parquet, Staats and Dinah Berkeley (who plays Jane) are meticulous performers, each fully embodying their characters and playing them with utter sincerity, despite the surreal setting. The dialogue is cleverly crafted and skilfully executed, with expert direction by Jess Chayes, masterful set design by Carolyn Mraz and wonderful costumes by Evan Prizant. A piece that challenges as well as entertaining you throughout, this is an entirely unique play that will make you think, and leave you wanting more.”

“(A) strangely absorbing…thought-provoking oddity that boldly sidesteps conventional drama in favour of something quieter, weirder, distinctly its own.”

“A BEST BET
Jean Ann Douglass’ bizarre effervescent little play unfurls slowly like a magical flower.”

“A quiet examination of the nature of exclusion and fear of the other is framed as deeply ironic comedy … There’s a real frisson to Douglass’ writing that speaks with great truth about the nature of loneliness… It’s completely surreal, also a very clever idea, nicely executed.”

“Featuring a powerhouse cast of only three and a truly thought-provoking plot that gets more intricate the more I think about it, Providence brings a lot of great artistic decisions together in such a small space, and in so short a time. ... There is so much about this play that really grows on you the more you try to weave your way through its seeming simplicity. ... A play that asks the audience to think outside the box and ... A rather intriguing production which audiences will find as interesting during as after the show has ended.”

“The three actors (Lori Elizabeth Parquet, Amy Staats and Dinah Berkeley) gave heartfelt performances on a clever set with interesting staging. An hour well spent.”

“Ms. Berkeley was perfect... Ms. Parquet is wonderful. She is the perfect blend of joyous enthusiasm and confidence in who she is. ... Ms. Douglass writing is very interesting and the play peals down the layers of friendships, loneliness and prejudice. Ms. Douglass has a lot to say and it hits home in subtle through lines. ... The set by Carolyn Mraz, lightening by Derek Wright and the staging by Ms Chayes were perfect for the piece. This is a company, actress and playwright to keep your eyes on. ”

“ A truly mesmerizing performance from Lori Elizabeth Parquet as Dora. Parquet is herself so sunny that we are luxuriate in her mindless prattle. ... Douglass’ comedy is so entertaining it isn’t until afterward that you realize it is a tragedy about America in its present chaos. That’s theater magic.”

“Berkeley, Parquet, and Staats are beautifully cast, each wildly different from each other yet able to engage the audience on their personal journey... Quirky, wonderful original music from Chris Chappell ... Through Jean Ann Douglass’ charming script, a basic conversation feels thrilling and definitely out of the ordinary. Human interaction takes on a joyful and celebratory quality that is equal parts delightful and lonely. The Providence of Neighboring Bodies packs quite a big punch, and leaves you pondering some bigger questions on the way out the door.”