FORGET THE USUAL – MOXIE IS SERVING
A TENDER STORY WITH A SIDE OF TRUTH

Not every good story needs to take you around the world in eighty days or off to a magical land with wizards; sometimes, a simple, well-written interaction between regular people whom one might meet at, say, a store, can be just as intriguing. Such is the case with Moxie Theatre’s gently-toned contemporary production of The Counter.

Katie (Kate Rose Reynolds) runs a diner in a small town in far-upstate New York. She’s relocated there from life in “the city” (probably Manhattan, perhaps Albany) and it’s clear that she’s in this tiny town to leave behind issues she didn’t want to face. Her first regular customer each day, at 6am, is always Paul (Mark Stevens). As someone who has a lot of guards up, Katie daily deflects Paul’s attempts at getting to know her better, but Paul is persistent. One morning, he corners her with the fact he’s watched her interactions since she arrived two years ago, knows that she lacks friends as much as he does, and he thinks they should bridge that gap. Reticently, she accepts his attempt to connect more deeply than just the cordiality of business acquaintances. As the two have their morning coffee at the diner each day, small confessions lead to bigger ones that intertwine their lives and create some tough choices for Katie.

The story is very much focused on the two of them, but the town’s doctor Peg (Kara Tuckfield) makes an appearance later in the show, giving more backstory on each and adding to the intrigue.

Playwright Meghan Kennedy and MOXIE’s Executive Artistic Director Desireé Clarke Miller definitely create the feeling of slow-paced life in Katie’s never-named chosen town; in doing that justice, it also runs the risk of the first ten minutes of the show being a bit mundane as we hear about coffee, who gets up early, sleeping habits – all very superficial and, while not so interesting for Katie, also not so interesting for us.

Likewise, it’s important to the plot that Katie resists Paul’s efforts to interview her, but it doesn’t make for riveting theater to not get to know her better. Thankfully, Kennedy is quite aware of this and is just building a platform from which the more guiling plot can jump; once Paul gets rolling, it’d be pretty hard to be bored by these two frail and very human creatures. There is one big choice Katie makes late in the script that doesn’t seem logical or in line with what we’ve seen of her, but that aside, the rest feels real and interesting right to an end that rings true for the two of them.

Applause to Moxie Theatre, which frequently selects exciting and edgy material, for rounding out their twentieth season differently — with something more relatable and touching instead. Moxie is taking a chance here that foregoing edgier material, which often leads to more word of mouth, will still generate buzz for this one. I do hope so, because there needs to be space for this simpler but meaningful interface between two souls who need connection in their lives. In a moment of so much disharmony in America, a little time in an old diner with people finding themselves through friendship was a healthy serving of comfort food for this critic.

The Counter
Moxie Theatre
6663 El Cajon Blvd. Suite N
Thurs at 7; Fri & Sat at 8; Sun at 2
ends on June 1, 2025
for tickets, call 858-598-7620 or visit Moxie Theatre