The setting is a two-story house in Pittsburgh occupied by an African-American family, and an exemplary cast brings to life the assorted characters, their relationships and problems. In particular, there is a memorable performance by S. Epatha Merkerson as Maxine, the mother whose humanity and spiritual strength in the face of her declining muscular powers as a result of illness anchors the play.

I have known Merkerson mostly via the endless hours I have enjoyed her in the “Law and Order” television shows. I have also seen her doing excellent work on stage before. But at last, here is a role that demonstrates what mighty power she has as an actress. It is a glowing, deeply moving performance that makes her character seem absolutely real and further burnishes her reputation.

Larry Powell is convincing as her gay son Calvin, who, as well as needing to come to terms with his sexuality, carries the baggage of having been molested by his stepfather Vernon (Kevyn Morrow), a dark secret that nobody wants to address. Calvin moves from home, leaving his younger sister to cope with their ailing mother.

Sheria Irving as Tonya, the sister, is a delight in the early scenes as she spiritedly regales the audience with amusing insights into the process of growing up in the household. Later, with the passage of time and the return of Calvin, we see her as a strong young woman demanding her own opportunity in life.

Another key character whom we meet is Maxine’s close friend Eva, finely acted by Sharon Washington, who is suffering from cancer and has her own secret that undercuts the strong religious beliefs both share. Lillias White plays Maxine’s mother, Gertrude, with Elain Graham cast as Aunt Delores.

Porter demonstrates a gift for writing sharp dialogue, and injecting humor into the lives of his characters, although it is risky to pack so much into the drama. The staging in the hands of director Sheryl Kaller maintains the required intimacy, aided by the realistic set designed by James Noone.