Family gatherings can sometimes result in personal disagreements, and awkward encounters often play a central role in these clashes. Additionally, these events can sometimes ignite newfound knowledge of significant family occurrences, which can be very surprising. Jon Robin Baitz‘s 2011 drama Oth er Desert Cities brings these themes to the forefront, and this acclaimed play (which ran on Broadway from 2011 to 2012) was a finalist for the 2012 Pulitzer Prize for Drama. The Colonial Players are currently staging this Baitz masterpiece, and their brilliant production features a sensational five-member cast. This gifted ensemble grippingly conveys the show’s heart-wrenching messages, and their presentation was warmly received on its opening night. Other Desert Cities is set during Christmas 2004, when troubled NYC writer Brooke Wyeth returns home to Palm Springs, California, to visit her family after a six-year absence. Her conservative parents, Polly and Lyman, are deeply connected in the Hollywood and political communities. Brooke’s brother, Trip, is a TV producer for controversial courtroom reality shows, and Polly and Lyman strongly disagree with the siblings’ unconventional career paths. To complicate things even further, Polly’s estranged sister, Silda Grauman, is also paying a visit after a long stint in rehab due to alcoholism. While home, Brooke announces to her relatives that she is publishing a tell-all memoir, which details a closely guarded family secret. Polly and Lyman do not want Brooke to publish the book, and they try to keep her from returning home to New York at all costs. Once the secret is unleashed, the entire family becomes remorseful, leading to a shocking epilogue. Kaitlin Fish, Stephen Nickens, Rebecca Kyler Downs, James Gallagher, and Debbie Barber-Eaton in ‘Other Desert Cities.’ Publicity photo by Brandon Bentley. Rebecca Kyler Downs (Polly) and James Gallagher (Lyman) each delivered superior performances, exuding undeniable polish and confidence. These expert actors sharply expressed old-fashioned viewpoints, impeccably illustrating their resentment toward modern ideals. Both performers effectively displayed every emotion from bitter anger to heartfelt concern, thoroughly captivating the audience. Downs impressively transitioned from mollycoddling mother to furious authority figure in seconds, demonstrating extraordinary skill. Similarly, Gallagher perfectly conveyed dignified panache, utter exasperation, and fatherly affection, seamlessly shifting tones with breakneck timing.  As Brooke, Kaitlin Fish poignantly depicted her character’s mental struggles, and her sorrowful expressions ideally matched her frustration and reclusiveness. Her argument scenes with the relatives were marked by her dismayed tone, and her sharp interpretation of Brooke’s unrelenting antagonism was flawless. Stephen Nickens portrayed Trip with charming enthusiasm and directness, colorfully stating his desire not to talk politics during the family’s time together. He also entertainingly aggrandized his television work, humorously stating his daily routine. Nickens also effortlessly navigated Trip’s internal conflict of supporting Brooke’s work while also trying to protect her from criticism. He heartwarmingly noted his desire for normalcy in the family dynamic. Debbie Barber-Eaton was tremendously entertaining as Silda, presenting humorous slapstick and riotous speech. She hilariously played many personalities and took on vastly different personas, demonstrating remarkable flexibility when switching among voices. Barber-Eaton’s versatility was additionally reflected in her ability to characterize not only Silda’s eccentric nature, but also her tender support of Brook and Trip’s unique paths.   Laura Gayvert’s outstanding direction cleverly ultilized the Colonial Players’ intimate, in-the-round performance space, placing the audience directly in the Wyeths’ living room. This setup exponentially enriched the experience, allowing theatergoers to truly become immersed in the emotions and setting. Lighting designer John H. Purnell skillfully matched the lighting to the plot, using dim/subdued lighting during serious conversations that enhanced the mood. Sound designers Steven Ney and Ken Johnson created a profoundly moving voiceover segment that caused each character’s voice to be heard in different areas of the theater, and this sequence was a creative highlight. The Colonial Players have assembled a splendidly talented troupe for Other Desert Cities, and this performance is a vividly powerful piece of theater. This riveting play (complete with its startling ending) explores a wide array of life experiences that are sure to resonate with many audience members, and the cast’s artistic genius masterfully brings these journeys to life. What an incredible piece of theater!Running Time: Two hours and 20 minutes, including a 15-minute intermission.Other Desert Cities plays through January 31, 2026,  at Colonial Players of Annapolis – 108 East Street, Annapolis, MD. Tickets ($23–$28) can be purchased online, in person at the Colonial Players box office, or by calling 410-268-7373. A virtual playbill is available here. Note: This play includes intense family conflict, discussions of suicide, mental illness, and political tension. Contains strong language. Other Desert CitiesBy Jon Robin BaitzDirected by Laura Gayvert The post A vividly powerful ‘Other Desert Cities’ at Colonial Players of Annapolis appeared first on DC Theater Arts. ...read more read less