Review: Leslye Headland's THE LAYOVER, The Aftermath Of A One Night Stand

If the plot and characters of Leslye Headland new drama THE LAYOVER appear to be contemporary versions of some old film noir feature you used to watch so often on VHS that the images on the tape deteriorated into grey and white streaks, it may be merely be a suggestion planted into your head by video designer Jeff Sugg, who flashes the faded black and white images before us at lightening speeds between scenes.

Indeed, Headland gives us everything but the popcorn. There's the thrill of meeting an attractive stranger, the tension of not knowing if the stranger can be trusted, the hint of an erotic encounter that develops more into sexual mind games and, most effectively of all, crackling good dialogue that keeps the characters on their toes and the audience's ears focused.

The first third of her 90-minute play is by far the best. Shellie and Dex (Annie Parisse and Adam Rothenberg) are strangers seated in business class of a plane stuck on the O'Hare tarmac that will not get its passengers to New York in time for their Thanksgiving dinners.

Dex initiates conversation by asking about a pilot's announcement while Shellie is occupied with her crime novel.

Whether Dex, an engaged engineer, has a habit of saying the wrong thing or Shellie just enjoys making him uncomfortable by twisting his meanings is up to the viewer to decide, but he's definitely intrigued with the woman who explains her choice of reading material by telling him she teaches American crime fiction at Hunter.

Their conversation touches on topics like airline terrorism, Patricia Highsmith's novel "Strangers on a Train," and whether or not Dex was trying to pick up Shellie.

In a scene that appears more calculated than erotic, the pair spend the night together in the airport hotel after the flight is cancelled.

From here we find out a bit more of the truth, as the play shifts to both their home lives. Describing the characters played by John Procaccino, Amelia Workman, Quincy Dunn-Baker and Arica Himmel would give away too much, except to say that the choice to take a vacation from reality is completely understood.

In the end, it seems Hollywood production code morality is in full effect, as the woman is punished for her sins.

If the muddy remainder of THE LAYOVER never lives up to the intrigue of its setup, director Tripp Cullman's slick production is swift and well-played. But alas, some one night stands are best ended after one night.

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