Valerie Adams Rigsbee and Ray Ficca (standing) and the cast of “The Minutes.” Photo by Cameron Whitman.
It isn’t very often that I leave a play thinking to myself, what did I just see? in the most profound sense possible. Tracy Letts’ highly provocative “The Minutes” is one such play that left me a bit speechless, somewhat shaken, and completely obsessed, given how astonishingly good this play is. As produced by the Keegan Theatre, “The Minutes” is absolutely spectacular. The time flies by while you try to wrap your head around the unbelievable goings-on and brilliantly crafted mystery of it all.
…astonishingly good…absolutely spectacular…an ensemble cast that plays off of one another with near perfection…theatrical triumph.
Described as a “slow-burning thriller,” “The Minutes” delivers and then some. A typical town council meeting turns bizarrely ominous within just a few minutes. Questions surrounding the proceedings of the previous meeting; the no-show of one Mr. Karp; and the collective reluctance to produce the minutes from the week before kick off what turns into a no-holds-barred deconstruction of what it means to serve as a board representative in ‘anytown USA.’ An assortment of quirky characters delineated as such by their archetypal names, such as Mr. Assalone and Mr. Oldfield, hash out a series of “pressing” problems—from stolen bikes to which events should be spotlighted at the annual Heritage Festival. Heritage is at the core of this group’s mission: to determinedly preserve the patriotic origin story of their beloved town through a series of commemorative events and status quo symbols.
The funny thing about symbols is that their meanings tend to morph through the years until such symbols become all but sanctified and, thus, untouchable. These people are protective of their heritage and will do anything to keep the propaganda going. Letts’ story gets told through a critical lens that gives the characters every chance to redeem themselves—whether or not they do, you’ll have to judge for yourself. The lone voice amid the indoctrinating din is Mr. Peel, a newcomer just getting acquainted with the way things are in Big Cherry. His evolution is a truly fascinating one.
The acting, at times, is spellbinding. Featuring an ensemble cast that plays off of one another with near perfection, the production gives each their time to grandstand and shine. A couple of standouts for me include Brett Earnest as Mr. Hanratty. His character is one of the ones who could potentially “save the day” though this becomes increasingly questionable as the meeting wears on. Earnest’s theatrical dexterity when it comes to Hanratty’s emotional push-pull is so satisfying to watch. As the hapless town council clerk, Valerie Adams Rigsbee perfectly channels the “good soldier” vibe. Ray Ficca’s turn as Mayor of Big Cherry stands as the shady, deflecting center, harboring the long-held mystery of a town that’s lost its way.
Susan Marie Rhea directs a script and cast the combination of which is bound to be a long-remembered theatrical triumph. The transitions from one revelatory moment to the next are both seamless and edge-of-your-seat delectable. Rhea has her finger on the pulse of exactly what slow-burn should look and feel like here. The set design by Josh Sticklin harkens traditional with just enough potential thriller undertone to keep audiences guessing. Lighting by Dominic Desalvio also seems to relish in the mystery of the moment and, in this way, fantastically plays with the various cues.
Admittedly, this was one of my favorite theatrical experiences of this season. I would happily watch this play again, as I don’t think I am wrong to assume there will be something new to uncover with each subsequent experience. I highly suggest you see “The Minutes” before it closes!
Running Time: One hour and 30 minutes with no intermission.
“The Minutes” runs through May 3, 2026 at The Keegan Theatre, 1742 Church Street NW, Washington, DC 20036. For more information and to purchase tickets, please go online.
