(Chris Jones’s article appeared in the Chicago Tribune, 4/10.)

Playwright Samuel Hunter's "A Permanent Image" is by no means the first play to tell the story of adult siblings returning from out of town for a parent's funeral.

The emotional tension of that ubiquitous human moment — which often involves booze, recriminations, guilt, money, shock, self-examination and sheer, unadulterated grief — has attracted scribes from Horton Foote on down.

And the two confused, angry, bereft siblings in this play — one the lesbian owner of a trucking company whose lover just left with their kid, the other a war-zone photographer with a penchant for gruesome photos — very much fall into the model of dysfunctional adults who can barely take care of themselves, let alone deal with a death in their estranged, pain-filled family


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