Priss, a high-strung, beautiful Boston heiress, rents a rundown New York apartment with her sardonic Radcliffe roommate, Margaret. Each befriends Pony, a confused would-be actor and Mormon folk singer from Utah whose painfully repressed background leaves him vulnerable to imprinting romantically on anyone who takes an interest in him. The problem is that Pony really wants Hank, Priss' wanna-be-Republican boyfriend and boss. Hank is fond of Pony but finds little time to maintain a friendship with him, let alone a relationship with Priss. Though Hank and Priss finally go their separate ways, Hank and Pony achieve professional success while crossing paths along the way. On the other end of the spectrum is Margaret's edgy courtship with Mutt, a slobbish but engaging handy man who's been hired to remodel the apartment. Doubting even the minutest possibility that a worthwhile relationship exists, Margaret deliberately fences herself off from sex and emotional entanglement with a nonstop barrage of self-deprecating, intellectual banter whose withering effect almost succeeds in leaving her isolated and yearning for more. Mutt, constantly intrigued by Margaret, perseveres through his own emotional landmine, to win Margaret over to see his side and to start living with him. Through it all, these achingly recognizable characters display a bittersweet appreciation of half-happy endings and the truest survival skills of the socially satiric.
Five adults on the springboard of their twenties become embroiled in the paradoxes of unrequited love, friendship, ambition and heartbreak. "Some of the best writing to be seen in a new play in a long, long time…like Oscar Wilde at his least-self-indulgent best. For all the play's cleverness, there is an underlying base of wisdom and psychological sensitivity, warmth without sentimentality." —BackStage. "High comedy in a gentler vein…charming and wise…O'Donnell's epigrams, climbing like verbal ivy vines, make cheerful listening" —Village Voice.