Informing all of the machinations are the characters’ keen perceptions of their relative class and social status. Loyalty to friends is a far less important consideration here than what an association with a scandal might mean to their future well-being. In making Leigh poor and grasping — and both Davis and Jimmy rich — the dramatist means to ramp up suspicion of the young woman’s tale. (Another cruel deception perpetrated by Leigh at Jimmy’s expense further erodes her veracity.) And as the ramifications of Leigh’s accusations become clearer to Davis’s friends, the manner in which Casey’s Cooper and James’s Johnson run for cover exposes the abject cravenness of Colaizzo’s “Me” people.
Misha Kachman’s dual-apartments set neatly divides the action; the props are smartly employed, down to Leigh’s ownership of an outdated model of cellphone. The mall-label outfits in which costume designer Kathleen Geldard dresses the cast are a match for the big-box store furnishings, and lighting designer Colin K. Bills assists at meticulously defining multiple locations in a confined space.