The three central characters in Of Good Stock seem to have one question in mind: is blood really thicker than water? They’re the Stockton sisters, daughters of long dead author Mick, who along with a sumptuous estate also left them a myriad of unresolved emotional issues and a collective Electra complex that has all of them trying to live up to the memory of a man they didn’t seem to have liked or loved that much to begin with. Their complex relationship with their father is best represented by their relationships with their respective significant others. Eldest sister, and type A homemaker, Jess (Jennifer Mudge) fights her husband Fred (Kelly AuCoin) over his choice of pants and what fish to buy for dinner. Middle sister Amy (Alicia Silverstone) recently got engaged to Josh (Greg Keller) and constantly quizzes him about things like what their “wedding colors” are, to make sure he’s right for her. Youngest sister Celia(Heather Lind) seems to be the most centered, even though she’s dating college dropout Hunter (Nate Miller) who might just be interested in her money.
As the three couples brace for a weekend together at the girls’ father’s beach house in Cape Cod, tensions rise and we’re not even halfway through the first act by the time we realize none of these people like each other, in fact they seem to despise what each other represents, forcing us to wonder why are they even putting themselves through this? Is it just because they’re family? Written by Melissa Ross and directed by Lynne Meadow Of Good Stock makes us reevaluate the meaning of family to wonder if we’re ever allowed to escape the chains that bind us to people we share genes with.
The ensemble fearlessly portray characters who are not very likable and with whom we might have difficulty empathizing with, but it’s testament to their commitment that they each deliver truly memorable performances. Mudge turns Jess into a control freak who in the face of a severe illness has lost her most precious commodity, and is left with nothing. Silverstone’s Amy is an adult child, who is so fearful of the consequences of her actions that she prefers to live in a fantasy world, while Lind’s sarcastic Celia uses dark humor to protect herself from the vicious love of her siblings.
While the women certainly have the most intense scenes, the men come off as slightly less dramatic creatures, all of whom seem to be trapped in damaging relationships, but end up revealing unexpected layers of compassion and sincerity. AuCoin’s Fred breaks the heart in scenes in which he puts up with his wife’s complaints strictly out of love, while Keller gets the play’s most memorable exit in which with a mere look he seems to have lived through an entire lifetime. Miller’s Hunter could’ve been a buffoon, but instead as played by the sensitive actor, comes off as someone who seems to think he only belongs in one specific place. With this character Ross touches lightly on social class, something which most contemporary American playwrights seem to evade more often than not. There is a bittersweet quality to Of Good Stock that lingers with you after the show is over. Ross doesn’t seem to have set out to deliver a cautionary tale, and yet the play contains warnings that sometimes come off as reflections of ourselves.
