This is a drama of relationships and how to cope with a challenge that a young husband and wife face and that has also jolted their respective parents. The setting is Easter Sunday of 2016 and the set by Beowulf Boritt and Alexis Distler is a home in an upscale Connecticut suburb where Joyce and Gil Osborn live. They have just returned from church and await the arrival of their son, his wife and her parents.

Gil (Paul Carlin) gripes about church and says he is moving toward becoming an atheist, and chides Joyce (Glynnis O’Connor) for sucking up to the clergyman. It soon becomes clear that they are in a marriage in which they get along on a surface level, but there are deep fissures. Gil resents that his wife doesn’t want to sleep in the same bed with him and says he misses closeness. She sees it only in terms of his wanting more sex. Joyce has no love for their daughter-in-law or her mother and resents getting stuck with hosting the holiday dinner, even though everything is pre-ordered. Tempers and accusations flare.

Tension mounts further as their son, Kenny (Adam Petherbridge), whose wife is pregnant, arrives very sullen and obviously unhappy. He wants to talk with his father alone, which his mother resents. She leaves the room, but not for long. They both pepper him with questions about what’s troubling him. Instead of waiting for an answer, they each start playing guessing games, stupidly not giving him a chance to speak. The playwright lets this go on for much too long, and I wanted to yell, “Spit it out already.”

When the parents do learn what’s plunged him into a funk, each has a completely different view and hostility between Gil and Joyce explodes in front of Kenny, which is the last thing he needs. When Jack (Malachy Cleary) and Audrey (Shelly Burch), the in-laws, arrive, at first all pretend not to know anything about the problem Kenny and his wife are having. We assume differently, and it doesn’t take long for all to tear into the open.

When Kenny leaves to pick up his wife, whom we never meet, the play becomes one of the parental couples clashing with ideas about what’s right and wrong, who’s right and who’s wrong, and as if that were not enough, something in the past that Joyce confesses about her life leaves her husband flummoxed, but generates understanding from Audrey as another woman. There is much argument about who has the right to make certain decisions.

Audience members may have their own thoughts about the main issue at hand, and in that sense the drama succeeds. The play ends on a future note that leaves Kenny, with a rather forced set of lines, to inform us about what ultimately has happened.