{"id":971,"date":"2015-07-16T11:23:29","date_gmt":"2015-07-16T11:23:29","guid":{"rendered":"https:\/\/www.hamptontheatre.org\/?p=971"},"modified":"2016-02-01T18:09:25","modified_gmt":"2016-02-01T18:09:25","slug":"dead-accounts","status":"publish","type":"post","link":"https:\/\/www.hamptontheatre.org\/?p=971","title":{"rendered":"Dead Accounts"},"content":{"rendered":"Theresa Rebeck\u2019s new comedy takes on greed and skewed ideas about morality when a quirky financier who has done a little too well in New York returns to surprise his family in the heartland.\r\n\n<div class=\"organic-accordion\"><p><a href=\"#general-info\">GENERAL INFO<\/a><\/p>\n            <div id=\"general-info\">\n            \t\r\n<div class=\"organic-column one-half\">\r\n<a href=\"https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/poster-dead-accounts-lg.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" width=\"194\" height=\"300\" class=\"alignleft size-medium wp-image-976\" src=\"https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/poster-dead-accounts-lg-194x300.jpg\" alt=\"hampton theatre company's production of dead accounts\" srcset=\"https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/poster-dead-accounts-lg-194x300.jpg 194w, https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/poster-dead-accounts-lg-663x1024.jpg 663w, https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/poster-dead-accounts-lg-414x640.jpg 414w, https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/poster-dead-accounts-lg.jpg 792w\" sizes=\"auto, (max-width: 194px) 100vw, 194px\" \/><\/a>\r\n<h6>January 14 &#8211; 31, 2016<\/h6>\r\n<h6>by Theresa Rebeck\r\ndirected by Andrew Botsford<\/h6>\r\n<strong>CAST:<\/strong>\r\nJack \u2013 JOHN CARLIN\r\nPhil \u2013 PETER CONNOLLY\r\nJenny \u2013 REBECCA EDANA\r\nBarbara \u2013 DIANA MARBURY\r\nLorna \u2013 MARY McGLOIN\r\n\r\nall show photos by Tom Kochie\r\n\r\n<\/div>\r\n\r\n<div class=\"organic-column one-half last\">\r\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/L42MiMe_gSs?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe>\r\n\r\n\r\n<!--<a href=\"http:\/\/\"#\"\">DINNER & THEATER PACKAGES<\/a>-->\r\n<\/div><div class=\"clearboth\"><\/div>\r\n\n            <\/div>\n<p><a href=\"#advance-press\">ADVANCE PRESS<\/a><\/p>\n            <div id=\"advance-press\">\n            \t\r\n<h3>&#8216;Dead Accounts&#8217; Stages A Comeback At HTC<\/h3>\r\n<strong>by Michelle Trauring (Southampton Press and East Hampton Press)<\/strong>\r\n\r\nAndrew Botsford did not read one word about Theresa Rebeck\u2019s \u201cDead Accounts\u201d\r\nbefore deciding to direct it. He wanted it to stage untainted by previous reviews. He\r\nwanted it to reflect his unbiased vision for the Hampton Theatre Company\u2019s\r\nproduction, opening Thursday at Quogue Community Hall.\r\n\r\nIn retrospect, that was a good move, he said.\r\n\r\nThe comedy that Ms. Rebeck, creator of NBC\u2019s \u201cSmash,\u201d penned in 2012 premiered at\r\nthe Cincinnati Playhouse in the Park before heading to Broadway, where it drew a\r\nstar-studded cast, including Norbert Leo Butz and Katie Holmes, and powerhouse\r\ndirector Jack O\u2019Brien.\r\n\r\n\u201cEventually, I had to look at the reviews, and I said, \u2018This didn\u2019t go over very well, did\r\nit?\u2019\u201d Mr. Botsford recalled. \u201cThey said it was funny, but that it couldn\u2019t make up its mind\r\non what kind of play it was. It didn\u2019t resolve. I think that\u2019s a fair comment. I didn\u2019t see\r\nthat production, so I didn\u2019t see what they were reviewing, but as far as the play is\r\nconcerned, I think they may have missed the point.\u201d\r\n\r\nThis month, Mr. Botsford is working to rectify the initial flop, and caught up with The\r\nSouthampton Press to discuss all things \u201cDead Accounts,\u201d not to mention his shift from\r\nactor to director.\r\n\r\n<strong>The Press:<\/strong> When did you first come across \u201cDead Accounts\u201d? Did you see it on\r\nBroadway?\r\n\r\n<strong>Andrew Botsford:<\/strong> I didn\u2019t. I was at the Drama Book Shop in New York and I was looking\r\nat plays, and I always liked Theresa Rebeck. So, I went to the Theresa Rebeck section\r\nand picked up \u201cDead Accounts.\u201d I read it and thought it was good, and I promoted it\r\nto the play selection committee. And I also said I would like to direct it.\r\n\r\n<strong>Why was that?\r\nBotsford:<\/strong> I liked the play a lot and there\u2019s no part in it for me [he laughs]. And I knew I\r\ncould do the play justice by directing it. I think there\u2019s a lot of fun in it. It\u2019s very funny,\r\nbut there\u2019s also some good truths about it.\r\n\r\n<strong>Can you elaborate?\r\nBotsford:<\/strong> Theresa Rebeck says in a forward to the play, \u201cAmerica doesn\u2019t know how to\r\ntalk to itself anymore,\u201d and the thesis that follows is that people on the coast\u2014the East\r\nCoast and the West Coast\u2014and the people in the heartland can\u2019t talk to each other\r\nbecause they don\u2019t share the same values. They don\u2019t look at money the same way,\r\nthey don\u2019t look at religion or spirituality the same way. They don\u2019t look at family bonds\r\nthe same way. They have different points of view to her\u2014she grew up in Cincinnati.\r\n\r\nShe went to Catholic school in Cincinnati.\r\n\r\n<strong>How does her background play into the story line?\r\nBotsford:<\/strong> Jack, the protagonist, is from Cincinnati, his mother is a very devout Catholic\r\nand he comes home to visit from New York, very disillusioned. His wife isn\u2019t with him and\r\nhe\u2019s got a lot of money. That\u2019s how the play starts. And his family is wondering why his\r\nwife isn\u2019t with him and how did he come up with all this money. Then, his wife shows up\r\nand we start to understand what\u2019s going on.\r\n\r\n<strong>How have you approached the play as a director?\r\nBotsford:<\/strong> I don\u2019t want to do any spoilers here. There are places it could go a lot darker\r\nand where I chose to play more of the humor of that and not make it so hard. And\r\nthere\u2019s places that need some wrenching reality involved. Finding that balance is a\r\ncritical part of what I was looking at, and also where I was envisioning it and coming\r\nup with a concept.\r\n\r\nAt the end of the play is a critical juncture and there are no clear instructions from the\r\nplaywright how that\u2019s supposed to happen. It\u2019s left to the director, and I had a pretty\r\nclear idea with what I wanted to do. I worked it out with the set designer, Peter , the\r\nlighting designer, Sebastian, the costume designer, Teresa, and Diana Marbury, who\r\ndresses our sets \u2026 They responded with their own creative input. In the end, it\u2019s all of\r\nour vision. It\u2019s not just my vision.\r\n\r\n<strong>What do you hope audiences take away from it?\r\nBotsford:<\/strong> I like them to be entertained. I like them to laugh, I like them to go along with\r\nit, I like them to be moved. Any theater experience, you want it to resonate on some\r\nlevel. I want them to be thinking about it when they walk out. I want them to care\r\nabout the characters.\r\n\r\nThe characters in this play\u2014maybe it\u2019s a reason the reviews weren\u2019t as solid as they\r\nmight have been\u2014are very true to life, which means they\u2019re not always likable. You\u2019re\r\nnot necessarily always cheering for them. There\u2019s ambiguities in people. There\u2019s\r\ndifferent things going on. There\u2019s no one who\u2019s all one thing. There\u2019s no complete\r\nheroes and villains. I like that about the play.\r\n\r\nI would like them to come away with, \u201cWow, that was a great evening of theater, and\r\nit was interesting.\u201d It\u2019s true that there is a piece of it that is from the Bible: You can\u2019t\r\nserve two masters. You can\u2019t serve God and money. It\u2019s not overtly laid out, but it\u2019s\r\npart of the subtext. There are all these questions on the table\u2014Can you ever go home\r\nagain? If not in church, where do we find God? Is there any kind of morality attached\r\nto making and keeping money? These are issues that are beyond the Midwest versus\r\nThe Coast. These are issues that are pretty real for the whole country and I think are on\r\nthe table for a lot of us. So maybe it resonates with people. That\u2019s what I\u2019m hoping.\r\n<h3>Virtue &amp; Greed Collide in HTC\u2019s \u201cDead Accounts\u201d<\/h3>\r\n<strong>by Dawn Watson (Sag Harbor Express)<\/strong>\r\n\r\nEven as Dorothy Gale clicked her ruby red slippers and uttered the words, \u201cthere\u2019s no\r\nplace like home\u201d in the classic movie version of \u201cThe Wizard of Oz,\u201d novelist Thomas\r\nWolfe had already written that it was one place most likely best left unrevisited.\r\nExpanding on these two seemingly contradictory ideas (famously penned by L. Frank\r\nBaum in 1900 and then by Mr. Wolfe a few short decades later), modern-day\r\nplaywright Theresa Rebeck explores the theme of homecoming in her 2012 drama\r\n\u201cDead Accounts.\u201d In her play, which the Hampton Theatre Company will stage at the\r\nQuogue Community Hall from Thursday, January 14, through Sunday, January 31, lead\r\ncharacter Jack Leonard wrestles with his own tough realities when he escapes to his\r\nparents\u2019 house in Cincinnati after fleeing a life in the fast line in Manhattan.\r\nBut even with unlimited resources and a desire to start with a fresh slate, the former\r\nfinancier, played in this production by John Carlin, is dissatisfied with where his life has\r\ntaken him. Displaced by his own actions, he finds that he is a man without a place to\r\ncall home. And even worse, his skeptical sister, Lorna, and pious mother, Barbra, are far\r\ntoo suspicious of his unexpected return to Ohio, and of his newfound wealth.\r\n\u201cUltimately \u2018Dead Accounts\u2019 is about finding your true home,\u201d says director Andrew\r\nBotsford. \u201cIt\u2019s about a disillusioned young man who is searching for his identity, who\r\nrealizes that you can\u2019t serve two masters.\u201d\r\n\r\nIn effect, Mr. Botsford says, Jack\u2019s journey leads him to a scriptural-type realization; it\u2019s\r\nimpossible to serve both God and money. In this instance, virtue is represented by an\r\ninnocent life in small-town Ohio while Manhattan\u2019s mammoth financial industry stands\r\nfor excess and greed.\r\n\r\nThe darkly comic tale, which staged on Broadway in 2012 and 2013 with a cast that\r\nincluded Norbert Leo Butz, Katie Holmes, Josh Hamilton, Judy Greer and Jayne\r\nHoudyshell, has been called a \u201cdead-serious comedy about what happens to people\r\nwho, like Jack and Lorna, wake up one morning and realize that their lives haven\u2019t\r\nlived up to their dreams\u201d by Terry Teachout in The Wall Street Journal. Darkly drawn\r\nand deeply written, the characters in Ms. Rebeck\u2019s play should give the East End\r\naudience plenty of food for thought.\r\n\r\nUsing her hometown as the backdrop for the action, Ms. Rebeck\u2014the now Brooklynbased\r\ncreator of the television drama \u201cSmash\u201d and author of the new book \u201cI\u2019m Glad\r\nAbout You\u201d\u2014deftly, and oftentimes humorously, explores the themes of homecoming\r\nin this well written play, says Mr. Botsford. And the accomplished five-person cast in this\r\nparticular production plays the action quite well, he adds.\r\n\r\nMr. Carlin, who made his debut on the Quogue stage in \u201cTime Stands Still\u201d last winter,\r\nwas the director\u2019s first pick for the role of Jack. \u201cHe\u2019s everything I thought he\u2019d be and\r\nmore,\u201d says Mr. Botsford. The show\u2019s lead actor comes to the role with the blessing of\r\nthe playwright as well, according to information provided by the director.\r\n\u201cI love that play, it\u2019s really both wrenching and funny,\u201d Ms. Rebeck replied to the\r\nactor\u2019s post on Facebook after he announced that he had earned the role of Jack. \u201cI\r\nhope you have a good time with it.\u201d\r\n\r\nVeteran actor HTC Artistic Director Diana Marbury was also pre-selected for her role as\r\nJack\u2019s mother. \u201cShe\u2019s exceptional,\u201d says Mr. Botsford, who adds that HTC newcomer\r\nMary McGloin plays Lorna, Jack\u2019s sister. \u201cIt\u2019s in her DNA to play this part,\u201d he continues.\r\nRounding out the roles are Peter Connolly, who starred in HTC\u2019s \u201cBedroom Farce,\u201d as\r\nPhil, a high school friend of Jack\u2019s and a possible love interest of Lorna\u2019s\u2014\u201cHe\u2019s the\r\nmoral fulcrum and grounding force of the play,\u201d says Mr. Botsford\u2014and Rebecca\r\nEdana, last seen in \u201cClybourne Park,\u201d who shines as Jack\u2019s wife, Jenny.\r\nCiting the \u201cwonderful \u2026 work by one of America\u2019s finest younger American (and\r\nfemale) playwrights,\u201d Hampton Theatre Company\u2019s Executive Director Sarah\r\nHunnewell reports that \u201cDead Accounts\u201d is a true theatrical gem.\r\nMr. Botsford agrees.\r\n\r\n\u201cIt\u2019s about very real human beings who work out their problems like the way real\r\npeople do in life,\u201d he says of the comedy-filled drama. \u201cIt\u2019s a wonderful play that\r\nreflects life back at us and it\u2019s sure to resonate.\u201d\r\n<h3>Probing \u2018Dead Accounts\u2019 in Quogue<\/h3>\r\n<strong>by Jennifer Landes (East Hampton Star)<\/strong>\r\n\r\nAt a time when Iowa is dominating the headlines because of its imminent caucuses to\r\nhelp select the next president, the sobering differences between the mores and beliefs\r\nof middle America and those of the coastal elites could not be clearer.\r\n\r\nIt is no surprise that our country is divided geographically, but in the past decade, as\r\nthe gulf between the have-nots and the have-everythings at the very top of the\r\nwealth pyramid has expanded, these divisions have become more complex.\r\n\r\nThe Hampton Theatre Company\u2019s impeccably timed production of \u201cDead Accounts,\u201d\r\nbeginning next Thursday at the Quogue Community Hall, could serve as a primer for\r\nthose flummoxed by the cult of Donald Trump and\/or Bernie Sanders. Yet, it will also\r\ntap into that complexity in ways that audiences may find challenging.\r\n\r\nTheresa Rebeck\u2019s dark comedy focuses on Jack Leonard, a Cincinnati native who\r\nbriefly dipped his feet in the world of New York finance. He suddenly returns home sans\r\nwife, but with millions in new assets. His sister, Lorna, has stayed home in Ohio to help\r\ntheir mother take care of their father, who is ill.\r\n\r\nAndrew Botsford, the director of the play, sees \u201cDead Accounts\u201d as the issues of\r\nAmerican political and economic divides writ large, but also as the interpersonal\r\nworkings of a family that, as Ms. Rebeck says in a forward she wrote for the play,\r\n\u201cdoesn\u2019t know how to talk to each other anymore.\u201d\r\n\r\nThe play was not warmly received by critics when it was performed in New York in\r\n2012, with Katie Holmes and Jack Butz in starring roles. Mr. Botsford said he didn\u2019t read\r\nthe original reviews until rehearsals started so they wouldn\u2019t shape his interpretation,\r\nbut he thinks the critics got it wrong. \u201cIt\u2019s hard to say what this play is. They seemed to\r\nwant it to fit into either a comedy or tragedy category, but it seems to be both.\u201d\r\n\r\nStill, The Wall Street Journal\u2019s critic was able to determine that the play was \u201ca deadserious\r\ncomedy about what happens to people who, like Jack and Lorna, wake up\r\none morning and realize that their lives haven\u2019t lived up to their dreams.\u201d\r\nAfter he participated in a summer workshop with Halley Feiffer at Stony Brook\r\nSouthampton, where the actress and playwright asked participants to find either the\r\ntragic in the comic or the comic in the tragic, Mr. Botsford said this play appealed to\r\nhim. \u201cShakespeare\u2019s tragedies have comic relief at times, but life is both at all times.\r\nYou tend to laugh, because things can get so dark.\u201d\r\n\r\nHe said that Ms. Rebeck \u201cwrites characters who are not that likable but are very\r\nhuman.\u201d When he asked John Carlin to read for the role of Jack, Mr. Carlin replied that\r\nhe would need to find a way to make the character likable. Mr. Botsford did not see it\r\nthat way, but he said Mr. Carlin, who reached out to Ms. Rebeck, \u201cresponded to the\r\ncharacter in his own way,\u201d and he found his interpretation very effective. \u201cAt the end\r\nof the play it\u2019s up to the audience and actors to decide where do we leave these\r\ncharacters in their journey.\u201d\r\n\r\nGod and money (or mammon from the Bible) become huge themes in the play. How\r\nthe characters reconcile their relationships to both has a lot to do with the play\u2019s\r\ndrama and humor. \u201cThe spiritual lesson from the Bible is that you can\u2019t serve both God\r\nand mammon, you have to take your pick. But in reality, you need some of each.\u201d\r\nIn addition to Mr. Carlin, Peter Connolly, Rebecca Edana, Diana Marbury, and Mary\r\nMcGloin star in the play. The sets were designed by Peter-Tolin Baker, with lighting\r\ndesign by Sebastian Paczynski and costumes by Teresa Lebrun. Ms. McGloin, a\r\nnewcomer to the company, plays Lorna, portrayed in New York by Ms. Holmes. Their\r\nmother is played by Ms. Marbury, who is the company\u2019s artistic director.\r\nMs. Rebeck has written many well-received plays including \u201cOmnium Gatherum,\u201d a\r\nfinalist for the Pulitzer Prize in drama that she co-wrote with Alexandra Gertstein-\r\nVassilaros. She is also known for creating the television series \u201cSmash,\u201d about the\r\nmaking of a Broadway musical. She was born in Ohio and went to high school in\r\nCincinnati.\r\n\r\nThe play is not a comic romp, nor is it \u201cA Long Day\u2019s Journey Into Night,\u201d Mr. Botsford\r\nsaid. Yet, \u201cthere are soliloquies that are Shakespearean\u201d in their tone and content. \u201cI\r\nthink the reason why it was savaged was that it wasn\u2019t done right. I believe we are\r\ndoing it beautifully, and I hope audiences agree.\u201d\r\n<h3>HTC Takes On Theresa Rebeck&#8217;s &#8220;Dead Accounts&#8221;<\/h3>\r\n<strong>by Nicole Barylski<\/strong>\r\n\r\nTheresa Rebeck&#8217;s dark comedy, &#8220;Dead Accounts,&#8221; will be the second production of\r\nthe Hampton Theatre Company&#8217;s 2015-2016 season. The play centers on the profound\r\ndifferences that separate those that reside in the Midwest from those that call New\r\nYork home.\r\n\r\n&#8220;What I think audiences will like about this play is that Theresa Rebeck looks at some\r\nvery real sore spots in contemporary culture &#8211; Does America know how to talk to itself\r\nanymore? Can one ever go home again? If not in the church, where can we find\r\nGod? Does any kind of morality apply when it comes to making and keeping money?\r\n&#8211; in a way that is in line with our experience: filled with humor as well as wrenching\r\ntruths,&#8221; said Andrew Botsford, Director.\r\n\r\n&#8220;Dead Accounts&#8221; follows Jack Leonard, a Cincinnati native who surprises his family by\r\nreturning to Ohio, following a stint in high finance in New York. His sister Lorna, currently\r\nlives at their parents&#8217; home and assists their mother, Barbara, care for their ill father.\r\nJack&#8217;s unexpected return brings up several questions about what occurred while out\r\nof town, like what&#8217;s become of Jack&#8217;s wife and how did he manage to become a\r\nmillionaire seemingly overnight. The play takes a look at the different values of the\r\nheartland and the East Coast, as well as the growing gap between the middle class\r\nand the 1 percent.\r\n\r\nTerry Teachout of The Wall Street Journal described the 2012 Broadway production,\r\nwhich starred Norbert Leo Butz, Katie Holmes, and Judy Greer, as &#8220;an exceedingly\r\ninteresting night at the theater&#8221; where &#8220;the laughs don&#8217;t stop,&#8221; but it&#8217;s also &#8220;a deadserious\r\ncomedy about what happens to people who, like Jack and Lorna, wake up\r\none morning and realize that their lives haven&#8217;t lived up to their dreams.&#8221;\r\nHTC&#8217;s adaptation will feature John Carlin, Mary McGloin, Diana Marbury, Rebecca\r\nEdana, and Peter Connolly. Andrew Botsford will direct the production, which\r\nshowcases set design by Peter-Tolin Baker, lighting design by Sebastian Paczynski and\r\ncostumes by Teresa Lebrun.\r\n\n            <\/div>\n<p><a href=\"#who's-who\">WHO'S WHO<\/a><\/p>\n            <div id=\"who's-who\">\n            \t\r\n<strong>JOHN CARLIN<\/strong> (Jack) made his HTC debut last season in Time Stands Still. Recent work includes the acclaimed production of Oklahoma!, directed by Daniel Fish (Bard Summerscape); summer workshop of Hadestown, directed by Rachel Chavkin (NY Theatre Workshop); the short film See You Around (<a href=\"http:\/\/funnyordie.com\">funnyordie.com<\/a>). In spring \u201916 he will appear opposite Joe Morton in Turn Me Loose, about the comedian\/activist Dick Gregory. A former RCA recording artist and independent solo artist (\u201cone of NYC\u2019s better-kept secrets\u201d &#8211; TimeOutNY), John is also a proud member of Reverend Billy &amp; The Stop Shopping Choir, an activist choir that has performed in the last year with Joan Baez and Neil Young.\r\n\r\n<strong>PETER CONNOLLY<\/strong> (Phil) made his HTC debut several seasons ago as Trevor in Bedroom Farce. Other theater credits: Off-Broadway: A Taste of Honey (Cherry Lane Theatre) Off-Off-Broadway: Suicide, The Musical (Joe\u2019s Pub\/P.S. 122) Regional: Hamlet (Round Table Theatre Company); The Crucible (Bay Street Theatre); A Christmas Carol (Trinity Rep); The Miracle Worker (Bay Street Theatre); Cabaret (Center Stage Southampton). TV\/Film: The Normal Heart and Muhammad Ali\u2019s Greatest Fight. He can also be seen\/heard in various voice-overs and commercial work. Peter currently resides in Sag Harbor with his Brussels Griffon, Oskar. He enjoys lengthy soundtrack scores and dirty martinis.\r\n\r\n<strong>REBECCA EDANA<\/strong> (Jenny) appeared most recently with the Hampton Theatre Company as Betsy\/Lindsey in Clybourne Park. She also played Jan in Bedroom Farce and Maddie in Desperate Affection with HTC and Fraulein Kost in Center Stage\u2019s Cabaret. She has been in numerous independent films including Greetings From Bushwick, as well as theater productions and improv troupes. Her favorite shows include Talk Radio, Happy Hour and Sweet Charity. She would like to thank her family for their tireless support and endless encouragement.\r\n\r\n<strong>DIANA MARBURY<\/strong> (Barbara, Set Decor) is delighted to be a part of this production,and working with this talented group.She has appeared in more than 50 HTC productions, most recently as Clara in Hay Fever (which she also directed), and Betty Meeks in The Foreigner. Diana wears many hats for the company, and looks forward to putting on the director\u2019s cap for this season\u2019s production of Vanya and Sonia and Masha and Spike. She would like to take this opportunity to thank June Ewing and Carol Miller for deciding to bring live theater into our communities, and of course, James Ewing for being June\u2019s inspiration for the endeavor.\r\n\r\n<strong>MARY McGLOIN<\/strong> (Lorna) is originally from the San Francisco Bay Area but now lives in Brooklyn. She is thrilled to be making her HTC debut. In the Bay Area, Mary performed and\/or understudied at many theaters, including ACT, Berkeley Rep, Theatreworks, CalShakes and, most recently, Custom Made Theatre Company, where she played Susan in How the World Began. Mary holds her MFA from The Shakespeare Theatre\u2019s Academy for Classical Acting at George Washington University. In NY theater, Mary played Leonore in Family Dinner by Michele Willens, directed by Jamibeth Margolis, and Megan in The Water Children by Wendy MacLeod, the latter to critical acclaim in The New York Times and Backstage. She is currently co-developing a web series titled \u201cTech Bettys\u201d that she intends to shoot this year. <a href=\"http:\/\/www.marymcgloin.com\">www.marymcgloin.com<\/a>\r\n\r\n<strong>THERESA REBECK<\/strong> (Playwright). Plays include The Scene, The Water\u2019s Edge, Loose Knit, The Family of Mann, Spike Heels, Bad Dates, The Butterfly Collection, The View of the Dome, Omnium Gatherum, The Understudy, Our House and Mauritius, produced in 2010 by the HTC. Ms. Rebeck has also written and produced for television (Smash, which she created, Dream On, Brooklyn Bridge, L.A. Law, American Dreamer, Maximum Bob, First Wave, Third Watch, Canterbury\u2019s Law, Smith, Law and Order: Criminal Intent, and NYPD Blue). Other writing includes Fire Free Zone, a book of comedic essays about writing and show business, and a novel, Three Girls and Their Brother. Ms. Rebeck has won numerous awards including the 2007 IRNE Award for Best New Play and the Eliot Norton Award for Mauritius.\r\n\r\n<strong>ANDREW BOTSFORD<\/strong> (Director) last directed the HTC production of Heroes in January 2014 and has appeared on stage in 42 Hampton Theatre Company productions since 1985, most recently as David Bliss in Hay Fever. He is the host of a summer film commentary program at the Westhampton Beach Performing Arts Center and co-hosts the annual Hamptons Take 2 Documentary Film Festival in Sag Harbor. Andrew also serves as a communications consultant and teaches in the Graduate Arts program at Stony Brook Southampton, where he continues to pursue studies in playwriting, acting and directing.\r\n\r\n<strong>PETER-TOLIN BAKER<\/strong> (Set Designer). As founder and principal designer for PTB Design Services, Peter-Tolin Baker provides creative visual design solutions for a range of retail brands, exhibitions and promotional events. Previously, Baker oversaw all product presentations and in-store promotions worldwide for Tiffany &amp; Co. He launched his retail career as the visual manager for the legendary luxury emporium Henri Bendel New York. Additional commercial design experience includes clothing design and display prop construction. Earlier on in his career, he was both production designer and performer with the groundbreaking band Voice Farm, which played frequently to sold-out crowds in venues such as the Roxy Theater in Los Angeles and The Fillmore in San Francisco. Throughout his career Baker has continued to work as scenic designer on dozens of productions, including HTC\u2019s Clybourne Park, Hay Fever and An Inspector Calls.\r\n\r\n<strong>SEBASTIAN PACZYNSKI<\/strong> (Lighting Designer) first worked with the Hampton Theatre Company when he designed the company\u2019s 2003 production of Summer and Smoke at Guild Hall and has designed all the company\u2019s productions since Proof in 2004 as well as the theater\u2019s new lighting system. He has designed lighting for theater, dance and special events in a number of Broadway, Off Broadway, Off Off Broadway and regional venues. He has also worked in film and television as the director of photography. He has designed numerous productions for Guild Hall and for the Hamptons Shakespeare Festival.\r\n\r\n<strong>TERESA LEBRUN<\/strong> (Costume Designer) is the resident costumer for the Hampton Theatre Company and has designed costumes for all the company\u2019s recent productions. Teresa has also costumed for Spindletop Productions at Guild Hall. Much love to her boys Josh and Noah.\r\n\r\n<strong>CHRISSIE DEPIERRO<\/strong> (Stage Manager). It is such a pleasure to be working with Andrew as director once again. His dedication turns each show into one of passion, striving for us all to do our very best. With Assistant Stage Manager Amanda (SheShe) Griemsmann making her backstage debut by my side, I\u2019m confident that \u201cThese girls got this.\u201d To our cast, Maryam, designers, techs and construction crew, thank you for making it all come to life. With love to her Matthew, Kristopher, and Theresa: you are the brightest stars.\r\n\r\n<strong>AMANDA GRIEMSMANN<\/strong> (Assistant Stage Manager) appeared on stage with the HTC as Sheila Birling in An Inspector Calls, Jackie Coryton in Hay Fever and Myrtle Mae Simmons in Harvey. She is thrilled to make her HTC backstage debut assisting her wonderful friend Chrissie. She wants to wish the cast and production crew an amazing run. A wise man once told her: \u201cGive \u2019em hell!!\u201d &#8230; which is advice she lives by every day, on and off stage!\r\n\r\n<strong>MARYAM (Rob) DOWLING<\/strong> (Lighting &amp; Sound Technician) has done lighting and sound for 22 years with various theater groups on the East End. Maryam has also helped Sebastian with lighting setup at Guild Hall, the Ross School, and other local venues. This is Maryam\u2019s seventh season with the Hampton Theatre Company and she is very happy to be part of the show and the company.\r\n\r\n<strong>HAMPTON THEATRE COMPANY<\/strong> (Producer) is in its 31st season of bringing wonderful plays to Long Island\u2019s East End. Thanks to the generosity and unstinting support of the Village of Quogue, 23 of those years have been spent at the beautiful Quogue Community Hall. The company has presented more than 100 plays by the world\u2019s greatest playwrights, all listed in these pages, and is immensely grateful to our generous patrons, friends and audience members who have made these years such a success.\r\n\r\n\n            <\/div>\n<p><a href=\"#more-about-the-play\/playwright\">MORE ABOUT THE PLAY\/PLAYWRIGHT<\/a><\/p>\n            <div id=\"more-about-the-play\/playwright\">\n            \t\r\nProdigal son Jack O\u2019Brien returns unexpectedly to his Cincinnati roots, adrift after a brief career on Wall Street. Jack&#8217;s reappearance is shrouded in mystery: he has quit his job, has wads of cash, and his marital status is unclear&#8211;all of which has his family and friends both curious and on edge.\r\n\r\nFollowing Jack to Cincinnati, his wife Jenny levels accusations that seem to yield a clearer picture &#8230; until Jack gives his side of the story.\r\n\r\nDrawing on her unerring eye for topicality and whip-smart dialogue, in Dead Accounts Theresa Rebeck tackles such disparate subjects as the questionable ethics of Wall Street and the existence of God. Written after the 2008 financial crash, this evergreen comedy\/drama examines the corrosive effects of greed as well as the tension and dissonance between big-city superiority and cozy Midwestern insularity.\r\n\r\n\u2026\u2026\u2026..\r\n\r\nTheresa Rebeck is a widely produced playwright both in the United States and abroad. New York productions of her work include Dead Accounts, Seminar, Mauritius (produced by the Hampton Theatre Company in 2010), Spike Heels, Bad Dates, A View of the Dome and Poor Behavior. Ms. Rebeck also co-wrote Omnium Gatherum, a finalist for the Pulitzer Prize in 2003. For television, Ms. Rebeck has written for Dream On, Brooklyn Bridge, L.A. Law and Third Watch and created the NBC drama Smash. She is often referred to as the female David Mamet.\r\n\r\nA lot of bad manners are on display in Ms. Rebeck\u2019s dramatic universe. A New York Times article quoted her as saying that her plays were about &#8220;betrayal and treason and poor behavior. A lot of poor behavior.\u201d Like the O&#8217;Brien family in Dead Accounts, Ms. Rebeck grew up in Cincinnati, Ohio. She now lives in Brooklyn, New York.\r\n\n            <\/div>\n<p><a href=\"#reviews\">REVIEWS<\/a><\/p>\n            <div id=\"reviews\">\n            \t\r\n<h3>Hampton Theatre Company Breathes Life Into &#8216;Dead Accounts&#8217;<\/h3>\r\n<strong>by Lorraine Dusky\r\nSouthampton Press and East Hampton Press<\/strong>\r\n\r\nWhen my editor pronounced I was about to review a play that was a flop on Broadway, I grimaced. Even the title sounded foreboding: \u201cDead Accounts.\u201d\r\n\r\nBut 10 minutes into the first act, I relaxed. It was obvious this production was going to be, at the very least, engaging.\r\n\r\nBy intermission, I was thoroughly charmed. Under the deft direction of Andrew Botsford, the Hampton Theatre Company is putting on a good show at the Quogue Community Hall\u2014New York critics be damned.\r\n\r\nTheresa Rebeck\u2019s \u201cDead Accounts\u201d knits together money, marriage and Middle America \u201cvalues\u201d versus the perception that the East merely worships at the god of mammon. This jarring intersection of East versus Midwest is infused with a generous dollop of comedy: a serious story with a vivid sense of humor.\r\n\r\nHere, you don\u2019t even hate the bad guy, a nervous New York banker who\u2019s surprisingly shown up at home in the Midwest, supposedly the epicenter of bedrock American values. What he\u2019s doing there makes up the story\u2014and other than note it has to do with \u201cdead accounts\u201d in banking, I will say no more.\r\n\r\nJohn Carlin as the hyperactive refugee from the East makes the character not only understandable, but even sympathetic and likeable. A lesser talent might have chewed the scenery and made him merely the cutout character of a thieving Manhattan banker, but Mr. Carlin\u2019s standout performance turns him into someone you end up rooting for. Here he ably conveys the character\u2019s frailty as he gropes his way through what his life is yet to be. You want him to find his way.\r\n\r\nBesides, how much love do we have for the banking industry\u2014as his country mouse sister point outs\u2014that connive and fiddle with our savings while no one goes to jail and the foreclosure signs go up? Not much.\r\n\r\nMary McGloin is Lorna, the dutiful sister left behind as she sees her life slipping by while she cares for her aging parents. As written, Lorna is less than an exciting person, but Ms. McGloin breathes life into her, making you hope something good happens for her, too.\r\n\r\nThe other Midwestern tropes who inhabit the stage are Jack and Lorna\u2019s mother, Roman Catholic down to her slippers and robe, and Jack\u2019s friend from high school, Phil, who stayed home and got a job at Procter &amp; Gamble in Cincinnati, where the story unfolds. Diana Marbury, who\u2019s a HTC mainstay as both a director and actor, amiably portrays the mother, exuding those vaulted Midwestern values. Peter Connolly as Phil is a good guy who toes the straight road, and doesn\u2019t think of himself as stuck in Cincinnati.\r\n\r\nRebecca Edana appears as the unvarnished New Yorker who is Jack\u2019s wife, Jenny. In her stark black dress and heels, Ms. Edana is the epitome of a Manhattan career woman with little to redeem her. But she too will make you laugh as she inspects the set\u2019s kitchen, designed by Peter-Tolin Baker. It is the flawless depiction of many I\u2019ve been in\u2014with painted plates, hand-stitched samplers, overgrown plants and a crucifix on the wall. And the last set\u2014which I won\u2019t describe\u2014is arresting, particularly enhanced by Sebastian Paczynski\u2019s lighting as it comes into view.\r\n\r\nMs. Rebeck, a native Ohioan who went to high school in Cincinnati, wrote the play for a theater there, and previously dealt with the theme of someone making it big as the creator of the two-season television drama, \u201cSmash.\u201d Here she has created a well-written dramedy that has the feel of reality, shot through and through with humorous lines. The cast\u2019s timing is perfect, and the jokes all fly.\r\n\r\nI\u2019m from the Midwest myself, with that same Catholic upbringing as the playwright. I\u2019ve gone home to Michigan and deflected that same criticism of East Coast values that are lampooned here. Surely the local audience lapped up this good-natured interpretation of their upstanding \u201cvalues\u201d brushing up against those evil Eastern ways that center around money, where you went to school and what you do, and that family heirloom that came across on the Mayflower. Ms. Rebeck has fun with both perceptions, yet condescends to neither.\r\n\r\nMr. Botsford is better known for his comedic acting in a number of productions of HTC. He\u2019s moved smoothly into the role of director, and readily won my vote with \u201cDead Accounts.\u201d\r\n\r\nAs the play wound down, I could see that while this dramedy doesn\u2019t have the razzle-dazzle of hot Manhattan offerings\u2014people here are generally nice rather than nasty, they act like normal human beings rather than crazed maniacs, which Broadway favors\u2014its New York stage drubbing was perhaps the result of set expectations. Or maybe it was the acting\u2014or over-acting, to judge from reviews, which I did read. I don\u2019t know, didn\u2019t see it.\r\n\r\nPlus, \u201cDead Accounts\u201d doesn\u2019t come to a definitive conclusion, but then neither do a lot of plays that stand tall in our reckoning.\r\n\r\nWhatever happened in New York City, stays in New York City. This is a fine production of a good play that will have legs\u2014out of the Big Apple.\r\n<h3>Standstill-gotten gains<\/h3>\r\n<strong>by Steve Parks\r\nNewsday<\/strong>\r\n\r\nIs it a crime to take money that\u2019s gone unclaimed for years? Ostensibly, that\u2019s the raison d\u2019\u00eatre behind \u201cDead Accounts,\u201d Theresa Rebeck\u2019s 2012 morality comedy starring Norbert Leo Butz and Katie Holmes that closed even before it could complete its 16-week limited run on Broadway.\r\n\r\nCritics complained that Rebeck couldn\u2019t make up her mind what \u201cDead Accounts\u201d was about. But in this meticulous Hampton Theatre Company resurrection, director Andrew Botsford has figured it out.\r\n\r\nThe title refers to long-dormant bank accounts of people who\u2019ve either died or simply forgotten where they left their money. Jack, a Cincinnati native and black sheep of his family, has unexpectedly returned home from Manhattan, where he was a highly remunerated bank employee. His sister, Lorna, who herself has returned home to care for her parents, suspects Jack is in trouble when he admits to paying a night floor mopper $1,000 for several pints of ice cream after business hours.\r\n\r\nAs Jack, John Carlin emits the motor-mouth impression that he\u2019s high on various pharmaceuticals he carries around in his pocket. But he\u2019s lucid enough to rationalize his behavior with a torrent of semi-plausible excuses punctuated by F-bombs that aren\u2019t tolerated in this square Catholic household. Mary McGloin as Lorna exudes the self-inflicted frustration of a grown daughter living in her childhood home with her parents \u2014 dotty Mom and unseen Dad, who\u2019s sick in bed. Diana Marbury, as the matriarch, demonstrates why she drives her daughter crazy as well as why Jack escaped to the parallel universe of Wall Street. Peter Connolly, as Jack\u2019s old high school buddy who harbors a long-simmering crush on Lorna, represents Jack\u2019s hometown past, while Rebecca Edana as Jenny, Jack\u2019s soon-to-be ex-wife, epitomizes the material comfort for which he\u2019s sold his soul. Jenny\u2019s sudden appearance in the Ohio hinterland she despises leads to the revelation of Jack\u2019s secret: He\u2019s \u201cstolen\u201d $27 million from dead accounts.\r\n\r\nPeter-Tolin Baker\u2019s domestic set \u2014 complete with window panes frosted with age and a jump-rope phone cord that stretches across the stage (where can you find such an artifact today?) \u2014 is a character unto itself.\r\n\r\nSo what has director Botsford figured out in \u201cDead Accounts\u201d? That life is more than accounting \u2014 \u201cNew York values,\u201d to quote a current presidential candidate? Midwestern orthodoxy suggests life may be more about planting trees \u2014 or anything organic.\r\n<h3>\u2018Dead Accounts\u2019 A True Credit to Local Theater<\/h3>\r\n<strong>by Dawn Watson\r\nHamptons Party Girl<\/strong>\r\n\r\nI can count on one hand the number of times I\u2019ve seen an actor truly inhabit a character. Last night was one of those times.\r\n\r\nJohn Carlin was absolutely masterful as Jack in Hampton Theatre Company\u2019s production of \u201cDead Accounts.\u201d He was so good, so natural and so incredibly in the moment that it did not appear as if he was acting at all. This is truly an impressive feat. Even if an actor very closely resembles the character he or she is playing, there\u2019s usually a \u201ctell\u201d in their language or movement, or when they are trying to remember a line. Not John Carlin last night. My hat\u2019s off to you sir. On the strength of this performance alone, I\u2019d go out of my way to see you work anywhere and everywhere again. Bravo!\r\n\r\nOf course Mr. Carlin couldn\u2019t be that fantastic without other impressive actors, directors, writers, producers, stage managers, etc. in his company. I was particularly moved by Diana Marbury\u2019s portrayal of Barbara in this show. I\u2019ve seen this talented and dedicated lady in a lot of roles and I think this one was my favorite. Understated and spare, there was a beautiful simplicity and realness in her performance last night.\r\n\r\nI\u2019ve never seen Mary McGloin before this show, as I believe this is her first East End role, but I thoroughly enjoyed her as Lorna. Peter Connolly was Zen master perfect as Phil. And Rebecca Edana, who looks like such a sweet lass in real life, was so good as a brittle New York sophisticate. Well done.\r\n\r\nNow I don\u2019t usually give much ink to direction, but here I must. Exceedingly well done to you Andrew Botsford. For everything, from your (and your technical team\u2019s) attention to detail\u2014right down to getting real Skyline Chili takeout bags and Graeter\u2019s Ice Cream, which are Cincinnati favorites\u2014to your empathy and understanding of what the actors needed here, I sincerely applaud you. You absolutely wowed me.\r\n\r\nAnother compliment goes to playwright Theresa Rebeck, whose brilliance in creating this play was stunning. This story about moral relativism needs to be staged and seen a lot. Seriously. A LOT. Absolutely captivating, I\u2019m still turning the themes over in my head.\r\n\r\nOf course the stage, set, costumes, lighting and sound were spot on. They always are from this group. I wouldn\u2019t expect any less from this talented technical team of Peter-Tolin Baker, Sebastian Paczynski, Teresa Lebrun and Chrissie DePierro.\r\n\r\nIn my opinion, last night the Hampton Theatre Company reset its high bar. I\u2019d go buy tickets and see this show again and again. It\u2019s that good. A+++++\r\n<h3>HTC\u2019s \u201cDead Accounts\u201d Brings Tender Moral Tale to Life<\/h3>\r\n<strong>by Beth Young\r\nEast End Beacon<\/strong>\r\n\r\nIt\u2019s rare to see a play that flows as easily as an evening in front of the television set, and while that may be a strange thing to say when reviewing a local theater production, it\u2019s the first thing that comes to mind after seeing \u201cDead Accounts\u201d at the Hampton Theatre Company this weekend. By the second night, this production was humming like a finely tuned refrigerator filled with leftover pizza, Graeter\u2019s ice cream and Skyline Chili. I left hungry for comfort food but comforted by the simple beauty of this moral tale.\r\n\r\nPlaywright Theresa Rebeck knows a thing or two about pacing: as a television writer she has written for \u201cLaw &amp; Order: Criminal Intent,\u201d \u201cNYPD Blue\u201d and \u201cLA Law.\u201d Her writing is sharp and never plodding, her humor is laugh-out-loud funny, and her characters are far more multifaceted than you would expect from a play whose heart is tied to the simple clash of cultures between the midwest and New York.\r\n\r\nBut, after all, the playwright is from Cincinnati, and this script puts her solidly on home turf.\r\n\r\nThis isn\u2019t HTC\u2019s first go-around with Ms. Rebeck\u2019s work. In 2009, they put up her \u201cMauritius,\u201d the equally intriguing story of two heirs who find a valuable stamp from the Pacific island of Mauritius in their mother\u2019s stamp collection.\r\n\r\n\u201cDead Accounts\u201d follows a man named Jack (John Carlin) as he returns home to Cincinnati from his job at a bank in New York, under mysterious circumstances and carrying pockets full of cash.\r\n\r\nIt turns out, he\u2019s stolen $27 million from the bank accounts of people who\u2019ve died or forgotten they had the accounts to begin with, and his soon-to-be-ex-wife Jenny (Rebecca Edana) is hot on his trail in pursuit of the cash.\r\n\r\nThe five-person cast of this play is pitch perfect. I was completely enamored with HTC newcomer Mary McGloin\u2019s portrayal of Jack\u2019s sister Lorna, a vivacious girl with a sharp mind, a big heart, and a penchant for telling the truth at high volume for everyone to hear. While Ms. McGloin lives in Brooklyn and is appearing courtesy of Actors\u2019 Equity Association, I hope to see her again here.\r\n\r\nJohn Carlin made his HTC debut last winter as James in \u201cTime Stands Still.\u201d He plays Jack as a rip-roaring loudmouth in a rumpled Armani suit, who walks around with a bottle filled with prescription pills in his pocket and believes he will never get caught stealing because that sort of thing doesn\u2019t happen in New York. He just nails this role.\r\n\r\nHTC veteran actor and director Diana Marbury does a wonderful job as his mother, Barbara, whose Catholic faith is what really drives this play. She mutters and clucks and prays and scolds as her character shuffles around in a purple velour tracksuit waiting for her husband to pass another kidney stone, but she\u2019s a smartie too. She knows a thing or two about what her children need, and she gives it to them, whether they like it or not.\r\n\r\nPeter Connolly is a sweetheart as Jack and Lorna\u2019s high school friend Phil, and his character becomes warmer and gentler as he courts Lorna throughout the course of the play. He\u2019s a great counterpoint to Jack\u2019s wife, Jenny, played by Rebecca Edana, who struts into the house in her high heels and her black dress, her nose held high and her hair pulled back tight, demanding answers (and money) from the man from Cincinnati whom she\u2019s come to scorn.\r\n\r\nCongratulations are in order to director Andrew Botsford for coaxing the best out of this fine cast.\r\n\r\nWhile \u201cDead Accounts,\u201d first staged in 2012 at New York\u2019s Music Box Theatre, takes place after the economic meltdown of 2008, you wouldn\u2019t know it was the 21st Century from the kitchen in Cincinnati where this entire play takes place. And that\u2019s the point.\r\n\r\nWith a kitchen phone cord that stretches from one end of the stage to the next, cabinets filled with Corelle Ware, a crucifix over the kitchen door and a red plastic spaghetti strainer on a hook by the stove, this could easily have been the scene of a 1990s sitcom if it weren\u2019t for the sad post-millennial outlook of its cast.\r\n\r\nThere\u2019s one great special effect in this play, and I can\u2019t quite reveal it to you, except to say that it revolves around a sycamore tree and redemption. I thought this play ended in church, but it must have been a trick of the light.\r\n\r\nKudos to set designer Peter-Tolin Baker, lighting designer Sebastian Paczynski, costume designer Teresa LeBrun and stage manager Chrissie DePierro for pulling it off.\r\n<h3>\u2018Dead Accounts\u2019 Livens HTC Stage<\/h3>\r\n<strong>by Brendan J. O\u2019Reilly\r\nDan\u2019s Papers<\/strong>\r\n\r\nFor a witty, dialogue-driven comedy, \u201cDead Accounts\u201d has a considerable amount of intrigue.\r\n\r\nShowing up in the middle of the night at his childhood home in Cincinnati\u2014where his parents and one of his sisters reside\u2014Jack (John Carlin) is flush with cash. Why is he so fast and loose with his money\u2014an affront to Midwestern values\u2014and why is his wife conspicuously absent during this unannounced visit? After he hightailed it out of the Ohio for the glamour and opportunity of the Big Apple, Jack now sings Cincinnati\u2019s praises. Why the change of heart? And though his father is bed-ridden with kidney stones again, the father\u2019s malady apparently had nothing to do with Jack\u2019s visit.\r\n\r\nJack\u2019s sister Lorna (Mary McGloin) is his foil. She never strayed far from home and\u2014though she lost religion just like her brother did\u2014she did not lose her sense of morality. While Jack won\u2019t even go upstairs to see his father, Lorna has been helping their mother care for him.\r\n\r\nLorna is out to get the answers that the audience is craving. She puts the thumbscrews to Jack, and gets their numerous siblings on the telephone. McGloin does a great job of hinting at the other, unheard side of the phone conversations.\r\n\r\nBetween brother-sister and mother-daughter interactions that yield boisterous laughter, details emerge that suggest something sinister has happened. Despite Jack\u2019s insistence that everything he says is the truth, can he really be believed? It is assumed he became successful after he left Cincinnati, but spending $1,000 to get some ice cream and pig out in his parents\u2019 kitchen seems over the top.\r\n\r\n\u201cDead Accounts\u201d frequently contrasts Midwestern values with East Coast sensibilities, though never in a preachy manner. It seems like it was more than a coincidence that on Thursday, the same night Hampton Theatre Company opened the play in Quogue, Donald Trump was defending New York values at the Republican presidential debate in South Carolina. Senator Ted Cruz said New York values \u201cfocus around money.\u201d Jack would agree with that assessment.\r\n\r\nCarlin, who made his debut with Hampton Theatre Company last winter in \u201cTime Stands Still,\u201d has great command of his character, and delivers the best laughs as Jack makes observations about his hometown, and obfuscates the truth. McGloin is a standout performer as Lorna, punctuating the humor of playwright Theresa Rebeck\u2019s brilliant writing. Hampton Theatre Company veteran Diana Marbury is their mother, Barbara, who can never hide her disappointment and seems to worry too much\u2014though maybe, considering what Jack appears to have done, she should worry more.\r\n\r\nRounding out the cast are Peter Connolly as Phil, Jack\u2019s old friend and Lorna\u2019s love interest, and Rebecca Edana, playing Jack\u2019s wife Jenny, whose arrival is unexpected.\r\n\r\nThe play is in the very capable hands of Andrew Botsford. No one would ever guess this was only Botsford\u2019s second time directing; he made his directorial debut in Quogue two seasons ago with \u201cHeroes.\u201d\r\n<h3>Food, Family, and a Secret or Two<\/h3>\r\n<h5>A tale filled with moral dilemmas that will have audiences debating long after they leave<\/h5>\r\n<strong>by Bridget LeRoy\r\nEast Hampton Star<\/strong>\r\n\r\nFor its second production of the season, the Hampton Theatre Company in Quogue has put \u201cDead Accounts\u201d by Theresa Rebeck on the table \u2014 along with an outrageous assortment of foodstuffs. A tale filled with moral dilemmas that will have audiences debating long after they leave, the evening buzzes along quickly and smoothly, sort of like that \u201cvery special episode\u201d of a well-loved sitcom, where something serious goes down even in the midst of the laughs.\r\n\r\nThe play, noted during its Broadway run more for its cast (which included the Tony Award-winning Norbert Leo Butz and Katie Holmes, recently relieved of her Cruise control) than its content, was not particularly well-received and closed early due to poor ticket sales. Knowing this before entering the Quogue Community Hall made a reviewer wonder why a small local theater would choose a piece that isn\u2019t a guaranteed crowd-pleaser, or, to be blunt, a guaranteed money-maker. But the Hampton Theatre Company is no ordinary community theater. Clearly, it has cojones grandes, a fact demonstrated by the opening scene of \u201cDead Accounts,\u201d in which John Carlin, who gives an inspired performance as Jack, drops the F-bomb more often than three Scorsese films strung together. This is not \u201cHay Fever,\u201d folks.\r\n\r\n\u201cDead Accounts\u201d tells the tale of Jack Leonard, who left his childhood home in Cincinnati years before for Wall Street wealth and has returned in the dead of night under mysterious circumstances, minus his wife but with a boatload of unexplained cash. The first scene, which features Mr. Carlin and Mary McGloin as Jack\u2019s stay-at-home, care-giving sister, Lorna, crackles with intensity as Jack talks nonstop while working his way through pint after pint of Graeter\u2019s ice cream, a Midwestern staple.\r\n\r\nMs. McGloin gives a strong and heartfelt performance as the sister who has given up her own life to help their mother (played wonderfully by Diana Marbury) look after their ailing dad. In fact, the entire cast \u2014 rounded out by Peter Connolly as Phil, Jack\u2019s childhood friend and possible romantic interest for Lorna, and Rebecca Edana, Jack\u2019s blue-blooded, icy wife \u2014 turns in strong performances, switching between humor and sadness, happiness and anger, hatred and horniness, with all the ease of a real dysfunctional family.\r\n\r\nSome of the funniest moments come whenever Lorna is on an important phone call and her mom launches into a continuous, nonsensical list of questions, directed both at her and whoever is on the line. It seemed everyone in the opening-night audience could relate.\r\n\r\nAnd some of the most poignant moments also come from Ms. McGloin\u2019s character, especially from her astute views of Wall Street and Park Avenue millionaires. \u201cThey have so much money they\u2019re exhausted,\u201d she observes.\r\n\r\nMr. Carlin rules the stage as Jack, whose nonstop energy may come from the pills in his pocket or the vast array of Skyline cheese and chili coneys he puts in his belly. His character disdains the over-indulgence of New Yorkers while bringing a dozen pizzas into the kitchen, to the horror of his family.\r\n\r\nMany references are made comparing that old-money sensibility to that old-time religion, a staple of the Leonard household, and who uses what to plug the gaping hole in their hearts. For the most part, though, Ms. Rebeck\u2019s script doesn\u2019t plug that hole. It doesn\u2019t offer any new insight, although it poses interesting questions, especially about how Jack became a millionaire on the run from the law and his wife\u2019s family.\r\n\r\nAndrew Botsford directs \u201cDead Accounts\u201d with a sure hand, hitting all the comedy notes and allowing the actors to bloom in their moral monologues. Peter-Tolin Baker\u2019s Buttermilk Blue cabinetry and flowered wallpaper evokes a tired, Midwestern kitchen (although there was a surprising lack of religious motif, considering the staunch Catholicism of its inhabitants), and Sebastian Paczynski\u2019s dappled lighting adds to the hidden subtext while providing the countrified feel of a house in the country.\r\n\r\nIt is the memories of his roots in a simpler childhood that bring Jack to his own epiphany \u2014 sort of. Presumably, Ms. Rebeck received an important phone call of her own while scripting the conclusion of \u201cDead Accounts,\u201d leaving the final scene up to the imagination. Still, the Quogue production offers all the color and form contained within the divergent branches in a family tree, and by presenting this play has gone out on a limb, proving that creativity has been seeded and continues to grow at the Hampton Theatre Company.\r\n\n            <\/div>\n<p><a href=\"#audience-comments\">AUDIENCE COMMENTS<\/a><\/p>\n            <div id=\"audience-comments\">\n            \t\r\nA fabulous evening of theater! \u201cDead Accounts\u201d brings plenty of earthy comedy melded with lots to ponder about. A great cast working wonders within a superb set. A wonderfully directed production. A must see!!\r\n<strong>&#8211; Donald Gruhn<\/strong>\r\n\r\nAttended last night\u2019s performance of \u201cDead Accounts\u201d and thought it was outstanding. The actors were so talented and professional. Looking forward to the next show. Please know how much I appreciate the wonderful work you do to bring these performances to us. Thank you.\r\n<strong>&#8211; Lois Mastropierro<\/strong>\r\n\r\nThis is the second performance my wife and I attended and, yes, we enjoyed it very much. The Quogue Club pre-theater dinner was wonderful and the short walk to the Community Club made this evening event even better. Hope you have a successful run.\r\n<strong>&#8211; S\u00e9an Deneny<\/strong>\r\n\r\nEnjoyed the show! Thank you!\r\n<strong>&#8211; Pamela Danaher<\/strong>\r\n\r\nThe play was fabulous. Thanks for the terrific work you all did in putting this together. All good wishes.\r\n<strong>&#8211; Don and Libby Steckler<\/strong>\r\n\r\nWe try never to miss a show. The acting and directing are superb. Whenever we leave a performance, my husband and I always say to each other, \u201cWell, that was the best show!\u201d The Hampton Theatre Company never disappoints! Thank you, we always look forward to the next show.\r\n<strong>&#8211; Leni Goldsmith<\/strong>\r\n\r\nThe play was terrific, and so was the acting. Andrew did a great job!\r\n<strong>&#8211; Emily Andren<\/strong>\r\n\r\nThis is a very good show. The actors are all very convincing and the story moves along, building as it goes.\r\n<strong>&#8211; Mindy Reyer<\/strong>\r\n\r\nI have enjoyed all the plays at the Hampton Theater Company and I&#8217;m so glad that my friends and I subscribe for the four productions each year. Last evening&#8217;s play was absolutely amazing. I had to remind myself that they were acting! It was so realistic. Congratulations to the wonderful cast. All the very best.\r\n<strong>&#8211; Patricia Hooks.<\/strong>\r\n\r\nI really enjoyed the show and the cast was top notch. I did find the ending a little obscure, but it did lead to discussion. Good show.\r\n<strong>&#8211; Cynthia Fecteau<\/strong>\r\n\r\nDon&#8217;t miss this beautiful production of \u201cDead Accounts\u201d by the Hampton Theatre Company! Running through Jan 31st. Huge congrats to Andrew Botsford and the whole cast and crew.\r\n<strong>&#8211; Gabriella Campagna<\/strong>\r\n\r\nWe loved the play, the performances, and the direction was clean and simple as it should have been. My wife and I get seven seats and bring five friends to each play. Keep up the good work.\r\n<strong>&#8211; Ray Dash<\/strong>\r\n\r\nTerrific performances with a very insightful subject matter for today&#8217;s issues!\r\n<strong>&#8211; Victoria Greenbaum<\/strong>\r\n\r\nActing superb. A great play. Thoroughly enjoyed it.\r\n<strong>&#8211; Sheila Stueve<\/strong>\r\n\r\nWonderfully acted. Don&#8217;t miss this one. You are sure to enjoy.\r\n<strong>&#8211; Joanne Nardo-MacDowell<\/strong>\r\n\r\nRalph and I want you to know how much we enjoyed the play\/performance. Rebeck is a great playwright. The acting was superb and John Carlin and Mary McGloin were outstanding. We were seated closer than usual and I was fascinated by the changes in Jack&#8217;s walk which changed his body language. He commands the stage. Andrew Botsford&#8217;s direction brings the playwright&#8217;s intentions to life. Congratulations!\r\n<strong>&#8211; Lynda Confessore<\/strong>\r\n\r\nMy husband, our two friends and I have seen two of your productions and have enjoyed them very much. We love the quaint building the theater is housed in. Thanks for providing wonderful winter entertainment!\r\n<strong>&#8211; Colleen Wasielke<\/strong>\r\n\r\nThe play was excellent and our friends enjoyed it thoroughly.  Barbara can&#8217;t stop talking about the lead actor, who was just perfect in his role. \r\n<strong>&#8211; Cathy Schwartz<\/strong>\r\n\r\nWe really enjoyed this show.  It was very well written, beautifully directed and every actor was excellent and perfect for the role.  I am from Omaha but have lived here in NY for many years and I must say it was very insightful about country mice vs. city mice! I have thought about it a lot!  Congratulations to all.\r\n<strong>&#8211; Marilyn Nemec<\/strong>\r\n\r\nWhat an excellent and professional performance. So wonderful to see such talented theater on the East End. Andrew Botsford is a tremendous director, as well. Will be returning for more enjoyment and entertainment soon!\r\n<strong>&#8211; Peggy Grigonis<\/strong>\r\n\r\nWe ALWAYS enjoy your shows!\r\n<strong>&#8211; Bonnie Friedman<\/strong>\r\n\r\nAnother fabulous production!! Outstanding performances and a very very enjoyable play. Loved it!&#8230; The ending left us with lengthy discussions that are still unresolved. Also loved hearing that you are introducing \u2018talkbacks.\u2019 Thanks so much for all the wonderful theatrical experiences. \r\n<strong>&#8211; Beverly Geiger<\/strong>\r\n\r\nPlay was absolutely wonderful!!!!! \r\n<strong>&#8211; Penny Wright<\/strong>\r\n\r\nFun evening.  Entertaining and very well done.  Great Job, Andrew Botsford! \r\n<strong>&#8211; Jane Nichols and Steve Abramson<\/strong>\r\n\r\nWe loved \u201cDead Accounts\u201d &#8211; and the after-talk added another dimension to the whole experience, learning about its history and how different people viewed the enigmatic ending. Thank you for that! We also enjoyed our delicious dinner at The Patio. \r\n<strong>&#8211; Heidi &#038; Tom (Oleszczuk)<\/strong>\r\n\r\nIt was the best &#8212; the cast couldn&#8217;t have been better suited for their parts, amazing, didn\u2019t even seem like they were acting.  Thank you all for a wonderful evening, once again\u2026\u2026 \r\n<strong>&#8211; Linda Volkmer<\/strong>\r\n\n            <\/div><\/div>\n\r\n\r\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 25%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-971 gallery-columns-4 gallery-size-thumbnail'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/5022-copy.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-1\"><img loading=\"lazy\" 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data-rl_caption=\"\" data-rel=\"lightbox-gallery-1\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/5357-copy-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/5378-copy.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-1\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/5378-copy-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.hamptontheatre.org\/wp-content\/uploads\/2015\/07\/5436-copy.jpg' title=\"\" 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Rebeck\u2019s new comedy takes on greed and skewed ideas about morality when a quirky financier who has done a little too well in New York returns to surprise his family in the heartland.","protected":false},"author":1,"featured_media":2310,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[1],"tags":[],"class_list":["post-971","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/posts\/971","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=971"}],"version-history":[{"count":78,"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/posts\/971\/revisions"}],"predecessor-version":[{"id":2623,"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/posts\/971\/revisions\/2623"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/media\/2310"}],"wp:attachment":[{"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=971"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=971"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hamptontheatre.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=971"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}