The play struggles with consistency and believability throughout. How can Thomas, so wiry and awkward, have convinced an educated women that he was of the age of consent, much less be smooth enough to convince her to sleep with him? How could Theresa, at once batty and immensely grounded, have been so oblivious to the true history of Thomas’ birth? How could anyone not think of calling the cops on Carla, despite her legalese?

Perhaps most offensive, however, is Glazer’s brazen sweep over the question of abortion. Thomas’s situation seems like the kind of case Roe v. Wade was made for, but rather than at least seriously considering all possibilities, the issue is shot down by both Carla and, less believably, Thomas’ family. When Carla mentions she’s not having an abortion, Theresa casually declares, “We’re Republicans.” When your fifteen-year-old son’s future is on the line, you simply cannot shoot down the possibility so easily because of a political conviction, even by a family that believes “liberal” and “welfare” are appropriate crossword puzzle solutions to the description “destructive.” At the very least, you could consult a lawyer much more quickly.

Segal’s performance as Thomas may be the most redeeming element of Stain. A recent Drama Desk nominee, Segal is ironically the most mature and professional actor in the cast, effortlessly gliding through Thomas’ range of emotions while never dropping his overwhelmingly adolescent glaze. Hopelessly clumsy, he looks to have outgrown his body. Through pure charm, he almost allows you to forgive Glazer’s poorly thought-out decision to make Thomas a drug user and lawyer-seducer. Bayless’ Theresa would have given the other noteworthy performance as the capricious grandmother, who seems to be on more drugs than botox. Unfortunately, Bayless struggles with her lines too often for her performance to really shine.

Stain is a willfully obnoxious play, one that doesn’t try to make its audience happy or play to viewers' political sympathies. In a way, we should be seeing a lot more of this kind of attitude in the New York theater scene. But without a proper play to back up that attitude, the obnoxiousness translates to something more sophomoric than productive.

Starring Tobias Segal (Thomas), Jim O'Conner (Arthur), Peter Brensinger (George), Summer Crockett Moore (Julia), Joanna Bayless (Theresa), and Karina Arroyave (Carla).