(Click Search and then Theater for a review of a previous Manhattan Theatre Club staging.)

In this drama about human connections and loneliness set in Dublin, Billy Carter plays Ian, the ex-priest therapist, who listens patiently, with a bit of gentle probing, as John (Broderick) tells his story bit by bit. He reports that his wife was killed in an auto accident, and describes how he has been seeing her in his house. The ghostlike phenomenon has upset him. Gradually, we get portrait of John’s life, building up to his present activities, including a stab at romance. There is pathos, punctuated by humor, in his confessional, and Broderick is superb in fleshing out the character as cleverly written by McPherson.

We soon learn in a subsequent scene that Ian has troubles of his own. Carter’s acting is excellent too as he tries to fend off a visit by Neesa, played with shrill passion by Lisa Dawn, a relationship he wants to abandon. She protests about what will happen to her and their child, and he vows to see they are taken care of. Despite her stormy protest, his certainty is that of a man who feels trapped and determinedly wants out no matter what.

Later, we learn something more about Ian when he brings home Lawrence (James Russell), whom he has picked up for sex. Ian is awkward at first about going through with it.

Thus we have tight portraits that the playwright smartly gives us, with the penetrating dialogue along the way. I still do not care for the play’s gimmicky and cheapening ending. It lessens the impact when what has gone before stands firmly on its own before the quick twist. I won’t spoil it by telling you what happens. You’ll have to feel the shock of it and judge for yourself.

Whatever your reaction, the performance by Broderick is well worth seeing. I have grown impatient with clichéd criticism by some that the actor is mainly one note. His work here should dispel any such notions.