也许开放的交流并不是一切。

在看到克里斯托弗·陈（Christopher Chen）的大胆但不愉快的“你的意思是对我造成伤害”之后，您可能会非常仔细地思考自己如何回答亲人的“登记入住”，以了解您为什么“很奇怪”。If you’ve ever felt an initial impulse to air a pituitary-gland-level urge, a half-formed reaction, a petty jealousy or immature insecurity, this world premiere will make you hasten to reseal that Pandora’s box of emotion and shoulder its burden on your own.

旧金山Playhouse的作品于9月22日（星期六）开业，最初使其四重奏的Yuppies看起来羡慕不已。Mixed-race couples — Ben (Cassidy Brown) and Samantha (Charisse Loriaux), Lindsey (Katie Rubin) and Daniel (Jomar Tagatac) — are all toasting Ben’s new job at Daniel’s company, and their repartee bespeaks the kind of self-awareness and social adroitness that can easily rescue banter from an off-kilter remark with a self-deprecating joke.

Even when those remarks betray racial privilege or racial ignorance — saying “the China problem” as if it were synonymous with China itself — the four seem assured that they have the shared goodwill and shared values to right the conversational train.

But trouble looms even in these early moments, signaled first by the pair of giant redwood trunks suspended horizontally over Angrette McCloskey’s set design. Lit as if from the bowels of the underworld by Kurt Landisman’s lighting design, the logs exude danger, like they might roll down and crush the characters’ bourgeois environs.

出现麻烦的另一个明显的迹象是“伤害”是克里斯托弗·陈（Christopher Chen）的戏剧。作者“一百花项目”and“Caught”建立现实主义，仅揭开魔术师风格，无数的烟幕和虚假框架的揭幕。在“伤害”中，角色实际上在框架中闲逛。当他们不在场景中说话时，他们徘徊在一个围绕着主要游戏空间的高架人行道中，当他们谈论甚至盯着自己的八卦者死亡时，会改变姿势变化或姿势转移。

旧金山剧院首先安装“Harm” last year as part of its Sandbox Series, which gives stripped-down productions to new scripts that might still go through major revisions. In this new version of the show — directed, like the last one, by Bill English — characters seem more mean-spirited. It’s as if their project is no longer good-faith introspection to find out why an offhand camping anecdote rubs them the wrong way but an effort, from start to finish, to wound and humiliate — all without much provocation.

就像没有人在舞台上喜欢彼此，并且很长一段时间都不喜欢彼此，这会产生一种奇怪的感觉，即陈的聪明对话和英语的出色演员都无法完全抵消。

鲁宾（Rubin）以听众的身份闪闪发光，以非语言口才吸收，放大和反映对话者的parries。洛里亚克斯（Loriaux）都是leonine镇定的。她的萨曼莎（Samantha）没有突袭，因为她知道她不必这样做。其他角色成为她的猎物，而不必举起爪子。作为丹尼尔（Daniel），塔加塔克（Tagatac）暂停了米切（Mincemeat），在死亡的空气中挖掘在感觉和可以说的话之间陷入鸿沟。布朗（Brown）成为了一个失误的白人，他的prat fall狂。当Ben试图用一堆手势摆脱不吉利的评论时，Brown使它看起来好像正在示意过山车的道路。

不稳定的地面陈便使他的表演者分心。将现实主义和超现实主义混合的规则似乎比剧作家的便利和兴起的逻辑完全少了。好像您可以听到Chen说：“我觉得我的角色现在能够以这种新的不寻常方式讲话，所以！现在我们在黑色中，或者角色知道他们在梦境中。”

With a writer as skilled and as inventive as Chen, it’s usually thrilling to go on that ride. But seeing “Harm” is a bit like spelunking too deep into the haunted house of human darkness, and without any guardrails or handles to hold onto.

l你的意思是伤害我：克里斯托弗·陈（Christopher Chen）撰写。由比尔英语执导。事件详细信息