I don’t want to tell you the ending of This, because I didn’t like it and am trying to forget it. I wonder if it’s simply that plays like This shouldn’t have endings. It’s a play that ought, if true to its characters, reject the cathartic, everything’s-gonna-be-different moment. L.B. Morse’s set features–besides a kitchen, living room, apartment, and piano nightclub–a number of doorways that people hang around in, emphasizing their inability to escape the liminal. They prefer the ambivalent space. It’s fascinating how the attraction to maintaining live options can leave you with none. Continue reading Seattle Rep’s This Isn’t All That, But It’s Pretty Cool (Review)