Trustus Theatre’s Side Door production of The Comeuppance, by Branden Jacobs-Jenkins, is a modern-day dramedy set in Washington, DC. It’s an intense evening of angst, truths, secrets, and lasting friendships, as a group of five diverse millennials gather for a pre–20th high school reunion party for their “gang” of misfits—known as MERG (Multi-Ethnic Reject Group). Think of the play as a grown-up The Big Chill. This particular group of friends has faced a lot in their lifetimes so far, including 9/11 and COVID, to name just a couple. Some of these friends see each other on a fairly regular basis; others have not been together in nearly 13 years.
While alcohol—and a little pot—soothe some, others find themselves stuck in the past with doubts, unrequited love, anger, and regret. Each character has been shaped by history and by time itself. The group’s anchor, Ursula, has lost an eye due to diabetes and has endured tremendous loss; Kristina, a doctor and vet, numbs herself with alcohol to escape the pressures of being a mother of five stuck in a suffocating marriage; Emilio is a bitter, brilliant artist who has self-exiled to Europe; and Paco, a veteran suffering from PTSD, is treated as an outsider and haunted by abuse from his high school years. Each character breaks the fourth wall, speaking directly to the audience about mortality and the stories they tell themselves to survive.
Be prepared: the play runs two and a half hours with no intermission. Yet it never feels indulgent or slow. The momentum of the piece is part of its power, and it is difficult to imagine where an intermission could even exist without disrupting the emotional current. Ginny Ives’ direction honors the depth and complexity of this script. Her fluid use of the intimate Side Door Theatre at Trustus (a 50-seat space) allows the audience to feel like silent members of the group, fully immersed in their reunion.
Patrick Dodds delivers a riveting performance as Emilio, capturing both the character’s caustic wit and profound ache. His opening monologue—where he reveals that we may know him as Death—is haunting, intimate, and immediately pulls the audience into the world of the play. Dodds sustains this emotional precision throughout the evening with a richly layered performance.
Jessica Francis Fichter shines as Caitlin, bringing emotional clarity and vulnerability to a character torn between nostalgia and disappointment. Her performance is filled with subtle shifts that reveal Caitlin’s longing, regret, and unresolved affection, grounding the play with honesty and heart.
Tashera Pravato brings warmth, strength, and a deeply human gentleness to Ursula. As the emotional center of the group, she radiates compassion and quiet resilience, giving the production its moral and emotional anchor.
Ellen Rodillo-Fowler fully commits to the chaos of Kristina, delivering a fearless performance that is at once biting, funny, and heartbreaking. Her portrayal captures both the bravado and the devastation of a woman unraveling, making Kristina’s pain impossible to ignore.
Mario Haynes gives Paco a moving sense of restraint and inner conflict. His performance thoughtfully conveys the weight of PTSD and long-held wounds, allowing Paco’s vulnerability and dignity to emerge with authenticity and care.
Jonathan Adriel adds resonance and gravitas as Simon, the friend who is only heard on the phone and who cancelled on them at the last moment. His rich voice and grounded presence bring an unexpected depth to the ensemble and underscore the themes of erasure, reinvention, and accountability.
The chemistry among the cast is exceptional. Their relationships feel lived-in, volatile, and deeply rooted, creating an ensemble that is emotionally transparent and compelling from start to finish.
The set, designed by Trustus company member Dewey Scott Wiley, is ideally suited to the space and supports the storytelling beautifully. Costumes and props are equally strong and specific. I highly recommend seeing this powerful and affecting production. The Comeuppance runs Thursdays-Sundays through Feb. 1 at the Side Door Theatre. Showtimes are at 7:30 p.m. Tickets are available at trustus.org or by calling 803-254-9732.