The dynamics between the characters demonstrates a push-pull relationship, each actor playing off the other. Westminster is very much a Withers play. It is funny and insightful, and it escalates delightfully to an over-the-top crescendo clearly calling out the prejudices and blind-spots human beings have about one another and the difficulty we have putting our money where our mouths are.

The way this quartet works together, suspension of disbelief is automatic. Westminster is irresistibly entertaining.

Withers is Pia, and Stacy Fischer is Krysten, who together share wordplay and telling body language when questions and answers balloon into seemingly unsolvable quagmires. They are excellent in their rapid-fire dialogue, clearly illustrating how Pia fancies herself mature and genteel and Krysten portrays an intelligent airhead with a big secret to hide.

Westminster caps a stellar season at the Harbor Stage Company. This production isn’t just excellent, it does something that goes beyond the stage, diving deep into what priorities we create in our lives and whether those priorities can accommodate the people we used to be—and those who knew us then. How do we handle the dangers inherent in emotional honesty? Can any of us survive it? I always want to fall in love with the plays I attend, and I’m head-over-heels for this one. There are echoes of Ionesco and a definite absurdist flavor to The Dog as both symbol and manifestation, some thoughtful characterizations, and a few surprises along the way. Go see it!