Your ability to feel liberated by the story that unfolds in The Counter will depend greatly and how well the aftermath of the COVID pandemic and the current political climate have treated you.  The Playbill makes clear that the actions take place a few years ago, seemingly before we were all cut off from one another while living under extreme conditions.  If you have maintained or regained the muscle memory of a singular connection with someone in your life, Meghan Kennedy’s newest work will leave you with an increased sense of appreciation.  If, however, you remain in the grip of isolation and anxiety, the honesty with which the playwright confronts those feelings may overwhelm the more pleasant sensations of watching skillful actors drawing generously from sincere emotional wells.

In an economic 75 minutes, Kennedy explores universal themes of grief and opportunities lost and found in a much more successful way than most of the COVID-panic-inspired plays I’ve reviewed this year (see Three Houses, Staff Meal and Six Characters).  Paul (a wholehearted Anthony Edwards nearly unrecognizable under a bushy beard) is a retired firefighter in small town New York close to the Canadian border.  He has an endearing ability to perceive, remember, and value the tiny gestures that make those around him special.  For reasons that come increasingly into focus, his life never fully launched.  Katie (Susannah Flood spreading her gloriously skittish wings) owns the cafe where Paul eats breakfast six mornings a week.  Unlike Paul, she has chosen this quiet and contained life.  With his frank urging, the two begin to form a friendship.   Amy Warren portrays third character, Peg, in a scene made pivotal by all we hear about her character before her entrance. 

Kennedy takes many shortcuts that some may find manipulative in order to move her story along to the key moments that propel each of them down their destined paths.  But in playing out their stories at 1 ½ speed, she accelerates our emotional investment in them both.  With increasing trust, they share “tough talk” with each other and us.  The balance of power shifts frequently, offering us fresh perspective with each twirl.

The scene is laid out in realistic detail by designer Walt Spangler, whose museum-worthy sets always provide an evocative sense of place.  The cafe is set on a angle, coming to a point audience center so everyone gets a pure view of every exchange.  Award-winning director David Cromer gives the central couple just enough business to heighten the small yet critical variation in the day-to-day.  Stacey Derosier’s lightening and Christopher Darbassie’s sound move the emphasis from exterior to interior dialogue and practically allow the windy world outside to swirl around our knees.  

We often hear about the importance of meeting people where they are.  The Counter illustrates exactly how powerful this connection point can be.  The underlying notes around self-care could also not come at a more appropriate time.  This limited engagement — part of Roundabout’s 2024-25 season — runs through November 17 at the Laura Pels Theatre (111 W 46th St).  Full priced tickets start at $58 and are available by calling 212.719.1300, or online at roundabouttheatre.org.

Tagged: Amy Warren, Anthony Edwards, Cathy Hammer, Christopher Darbassie, David Cromer, Laura Pels Theatre, Meghan Kennedy, Roundabout, Stacey Derosier, Susannah Flood, Walt Spangler