By Chip Deffaa***For this theater-goer, one of the happiest surprises of the past year was catching the world-premiere of The Edge Motel, a new play by Tom Rowan, directed by Ron Lasko—part of the Dream Up Festival (now ended), presented by Theater for the New City (Crystal Field, Artistic Director). The Edge Motel is a well-crafted, intricately plotted work, and Rowan certainly has a good feel for dialogue: t
he production held me from beginning to end. A bit of judicious pruning would make this good play even better, but it’s been years since I’ve so much enjoyed a play that arrived with almost no advance publicity.
Well-crafted, The Edge Motel play is filled with unexpected twists and turns. Two college-age friends, Brian and Alison, are driving during a snowstorm. They stop to pick up an injured, penniless hitchhiker, Cody, and when the storm gets too intense for them to drive any further, they stop to book a room at a motel, including Cody, feeling it would be heartless to leave him outside to fend for himself. Yet Alison wonders if they’re being manipulated by this mysterious stranger into feeling responsible 
for him. But Cody possesses such great personal charm that both Alison and Brian begin to form bonds with him.
But when Alison turns on the TV, she sees a news bulletin: authorities are looking for a man who’s attempted to assassinate the President. She sees a surveillance camera photo of the wanted man, and notes with alarm: “It’s Cody.” I can’t say more without spoiling the play for any future viewers, but by this point we’re definitely hooked.
The Edge Motel is well-cast and well-directed. Hannah Heil is credible as the troubled, skeptical Alison. Beckett Fleet is memorable and likeable as the handsome, wholesome, closeted midwestern college boy. And I can’t imagine anyone playing the enigmatic stranger, Cody, better than Max Andrae. He delivers a terrific performance, using his natural charisma to great advantage. And he’s got presence. He’s a find.
As to the need for 
judicious pruning, here’s an example: the first time one character names shortcomings of President Trump—and we soon see that all characters are of the same opinion—it feels like a natural, dramatically necessary conversation. But a repetition of that dialog later feels redundant and didactic. Arriving at the final scene, the information shared is invaluable and brings The Edge Motel to a very satisfying conclusion, but that final scene simply felt too long, and I hated seeing the play lose even a bit of momentum.
But these are relatively minor flaws in a play I greatly enjoyed and hope will eventually be published. And it’s always a nice surprise to find a play in a smaller venue that is this rewarding as The Edge Motel, particularly with such engaging actors who were new to me (including headshots and bios of them in the program would have been helpful—and respectful).
FYI the prolific Tom Rowan has another play, Burning Leaves, scheduled to play at the A.R.T./NY theater complex from –
