Before the action begins, you contemplate set designer David Lafont's rendering of a grimy one-room flat, filled with papers, boxes and mismatched bric-a-brac. There's a rolled-up carpet, an unusable gas stove, a toilet seat hanging below the ceiling and a porcelain toilet back leaning against a wall. A tennis racket. A shopping cart. A bucket suspended below a leak. And one shining, golden object: a cheap, gift-store Buddha. As the play progresses, you'll come to realize that every detail is perfect, and that the attention Lafont and Terry Dodd, director of this Paragon Theatre Company production, have lavished on this setting is justified. The flat represents more than just background. It's an appropriate mole hole for sad, befuddled Aston, who thinks he's good with his hands, tinkers constantly with a screwdriver and dreams about building a shed in the yard that he periodically observes through the grimy back window. But the set is also a metaphor for the inside of Aston's... More >>>