Presley and Haley Stray (West Perkinson, Allison Bennett) are 28-year-old twins whose existence in a decrepit London consists mostly of foraging for food — mainly chocolate — and occasionally glimpsing, through a window (perhaps playwright Philip Ridley's nod to Samuel Beckett's Endgame), a world that presumably has been decimated by a nuclear explosion. Despite their age, they behave more like children than adults: Haley clings to a doll for security, while Presley frequently bursts into scampers of puerile revelry. Their only sources of comfort are recollections of happier days, when their parents cared for them, and dialogue that's as creepy as their cadaverous hues and the dark circles around their eyes. Fear is at the heart of this piece. At one point, Haley gives a chilling account of being chased by a rabid pack of dogs; Presley discusses his encounter with a monstrous snake. The outside world intrudes when the enigmatic, cockroach-munching Cosmo Disney (Naomi Gibson), bursts in and, after retching on the floor, indulges in an long, overtly seductive mind game with Presley. As it turns out, Cosmo is one half of a bizarre traveling show, the other half being the masked Pitchfork Cavalier (Matt Dodge), whose sudden entrance kicks the spooky quotient into high gear. The Pitchfork Disney has a grotesque sort of charm and, despite its lack of action, Ridley's writing is darkly evocative and wryly funny. The performances are of a quality that matches the writing's virtues (though Bennett is leaving the show). Gibson turns in a splendid performance that is equal parts con-artist, seductress and gleeful tormenter. J.P. Rapozo provides solid direction.

Saturdays, 8 p.m. Starts: July 30. Continues through Sept. 17, 2011

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