Next Stage Press

What if the never-ending internal dialogue that we call our 'thoughts' were externalized? Christopher Heath's fascinating new play uses this as a theatrical device, giving its sexually ambiguous characters (Jo/Joe and Teri/Terry) each two physical expressions, one masculine, one feminine. Hence: Four Quarters. The play explores love and death with a resonance and power that gains strength from its deliberate indefiniteness, allowing the viewer to write his or her own emotional history onto the characters' plight. Honest and searing, the dramatic work refuses to make easy choices or come to simplistic conclusions. One comes away from Four Quarters not with a one-line moral, but with a deepened understanding of human nature and this alternately sad and exhilarating condition we all suffer from called life.