Shortly after savoring Rogue Machine Theatre's scrupulously acted production of Samuel D. Hunter's "A Permanent Image" and just before attending the much-praised Antaeus Company revival of William Inge's "Picnic," I felt awash in gratitude for plays that won't ever become classics but provide actors with rich opportunities to wield their interpretive art.
"A Permanent Image" is that species of playwriting frowned upon by the snootier factions of the avant-garde — the domestic drama. Two adult siblings with matching psychological baggage have returned to their childhood home in Idaho after the death of their father, only to learn that his death was a suicide and that their cantankerous mother is planning to off herself in exactly the same way.