‘The Best We Could’ Off Broadway Review: Aya Cash Discovers Her Dad’s a Toxic Male
thewrap.comare the problem we’ve been railing against all these years? It’s a bait-and-switch, and the stark shift in tone comes mid-scene in an awkward way that even a gifted director like Daniel Aukin can’t manage to smooth over.
From that moment, we are rushed headlong through a denouement that feels as rushed as the set-up was leisurely. Feldman’s meta-structure also blunts some of the play’s most effective passages, particularly a stark, heart-tugging ending that’s also an apt callback to an earlier scene in the play.
Instead of closing on that moment, we have to wait a beat for Maps to step forward and call for the lights to be turned out.
Still, there’s a lot to admire here — particularly the splendid performances by Wood and the rest of the cast. And Feldman, who has talent to burn, may soon learn how to trust her own voice..
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