Theresa Rebeck's new play, Mauritius, begins with one of those awful stage-y beginnings that made we weary of everything that followed; a girl (Alison Pill) walks on stage and begins babbling to another character on stage (Dylan Baker) that isn’t listening and continues talking and talking. It’s not that I’m a stickler for naturalism, but this kind of device is used so often and it has to be the least realistic situation ever created for the stage. While there is some good stuff in Mauritius, most notably Bobby Cannavale, I just found the entire show as convoluted as its beginning moments.For Tickets & Info: www.mtc-nyc.org
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