Reviewed by Erik Haagensen
From the moment the redoubtable Pamela Payton-Wright settles into her train seat and, as an enthusiastic elderly Southern Baptist, engages the young male stranger seated before her with ladylike aggression, you know you are in the best of hands. By the time director Michael Wilson's bone-deep production of the first part of Horton Foote's <cite>The Orphans' Home Cycle</cite> is over, nearly three hours have passed in…
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