Rising star playwright Thomas Bradshaw's new triptych splits its time between a very unconventional queer family in 1980s Greenwich Village, a successful black painter opening a new show in present-day Berlin, and the group of Neo-Nazis that drastically misinterprets his work. The play's tone varies dramatically from realism — particularly in its treatment of AIDS and addiction — to something close to camp, like the uncomfortably hilarious scene in which three Neo-Nazis argue about the importance of fibrous foods for ensuring healthy bowel movements.