I could not help but reflect while listening to this highly articulate text by Anna Ouyang Moench, who was utterly unknown to me up to now, though she received several successful regionalproductions of this play with warranted critical kudos. She is now writing for such streaming series as “Severance” and “Beef”, and this play has echoes of the Turgenev classic, Fathers and Sons, with the obvious gender distinction of the latter, but the same conflicts of generational
outlooks on life.

The consistent shared activity in eight scenes beginning in 2011 covering as many autumns, is that somewhat popular pastime of lovers of nature, “Birding”. It appears to be a highly civilized engagement of one’s time and requires the birder to set down in a booklet the specific sightings of species of the aviary in their “Life list”, which indeed, may take up a life to fill.

This passion serves as a metaphor for the dialogue between John who is a physician/scientist,

rigorously trained at Johns Hopkins no less, which coincides with the Baltimore home setting

and Caitlyn, the gifted progeny of an interracial marriage of two doctors. It becomes pertinent

that merely one of them, decidedly not John, is presently responsible for the family income. The

never seen mother, seemingly sans complaint of this economic agreement allows John to be

embarked on a years long research project coinciding with his clearly liberal ecological

perspective and philosophy.

This passion serves as a metaphor for the dialogue between John who is a physician/scientist,
rigorously trained at Johns Hopkins no less, which coincides with the Baltimore home setting
and Caitlyn, the gifted progeny of an interracial marriage of two doctors. It becomes pertinent
that merely one of them, decidedly not John, is presently responsible for the family income. The

never seen mother, seemingly sans complaint of this economic agreement allows John to be
embarked on a years long research project coinciding with his clearly liberal ecological
perspective and philosophy.This passion serves as a metaphor for the dialogue between John who is a physician/scientist,

rigorously trained at Johns Hopkins no less, which coincides with the Baltimore home setting

and Caitlyn, the gifted progeny of an interracial marriage of two doctors. It becomes pertinent

that merely one of them, decidedly not John, is presently responsible for the family income. The

never seen mother, seemingly sans complaint of this economic agreement allows John to be embarked on a years long research project coinciding with his clearly liberal ecological perspective and philosophy.

This passion serves as a metaphor for the dialogue between John who is a physician/scientist, rigorously trained at Johns Hopkins no less, which coincides with the Baltimore home setting and Caitlyn, the gifted progeny of an interracial marriage of two doctors. It becomes pertinent that merely one of them, decidedly not John, is presently responsible for the family income. The never seen mother, seemingly sans complaint of this economic agreement allows John to be
embarked on a years long research project coinciding with his clearly liberal ecological perspective and philosophy.

Caitlyn, in her twenties when we first meet her, is a nascent novelist who, in order to earn a living, has taken a job writing for a conspicuously conservative website. This introduces a constant quarrel between father and daughter in terms of their personal values and hopes for their individual and collective futures. This while we learn from them, mostly him, of the varying characteristics of the birds they spot, discuss, and record in their lists.

The pervasive love that is merely alluded to rather than emphatically expressed over the years displayed in this ninety-minute play is quite touching as well as clearly acted, in every sense, natural.

Kudos to this remarkable duo of players that carry a formidable text of density and depth. Jaine Ye, was a revelation in her seemingly effortless accounting of the daughter. Her aspirations, disappointments, heartbreaks, and hopes came through as utterly true. She is unquestionably an artist to watch, with the assiduous skills equivalent of an expert birder.

Mark Hofmaier has an impressive resume of credits from decades of dedicated contributions to theater and all media which I’ve observed over the years, yet I’ve never seen him apply more of his life to a character as he does with this role. His humanity manifested the father’s several virtues and serious shortcomings with palpable pain as well as touching tenderness. Perhaps being directed by his son, the brilliant Luke Hofmaier, who has staged this play with unerring deftness, knew just how to elicit from this man that he knows so well, as father and actor, and how it meets the character that Ms. Moench created.

The Set was just about perfect by Noel Brooks, as was the lighting by Aidan McLeod and Costumes by Cecilia Riddett. The younger Mr. Hofmaier designed the sound as soundly as he staged. I heartily recommend New Yorkers visit the upper part of our island and spend some quality time with a seriously natural fine piece of theater!
Personally, I merely take the 1 train to 125 and walk a long block south to LaSalle and the signs are clear for all. Enjoy!
100 LaSalle St. NYC. Sept 24, 2026-Oct.11 Thus.& Fridays, @ 7:30, Sat.@ 5:00, Sun. @ 3:00. Tickets: $25 for adults, $20 for seniors and students. AEA Approved Showcase.