What would happen if two people, who haven't seen each other for 20 years and share the same skeletons in their closet but don't know the extent of their own, reconnect on a whim? That's the question, along with several others, asked by Key City Public Theatre's rendition of “Annapurna.”

Right from its opening, the audience is in suspense and a constant state of puzzlement, wondering what brought these two together after two decades, what their shared history is, and what broke them apart. David Natale's Ulysses, the ex-husband with plenty of baggage of his own, has his own inquiries as to what his ex-wife, Emma, played by Key City Public Theatre's Artistic Director Denise Winter, is doing with her literal baggage she unpacks in his dusty trailer park on the foothills of the Colorado Rocky Mountains.

Guest Artistic Director Allen Fitzpatrick spoke to the preview audience Oct. 4, expounding upon the process over a mere 30 days of rehearsal, evolving from a barebones set in another rehearsal space to continually adding elements. With all the parts coming together, the only one left was the audience, using the preview audience as a test to where each joke lands, and to what extent.

Though there are plenty of serious moments that come out from the conversation, as expected, both Ulysses and Emma are comedic characters, bouncing off each other in an effortless fashion. Being separated for 20 years was no excuse to be coy with one another, especially with Ulysses, who was enjoying his trailer park life in ignorance to his past in the Eastern United States.

Ulysses and Emma

Both strong-willed in their characters, Natale and Winter play off each other incredibly well. The audience will have no question as to how many hours were put into the performances, as each line is perfectly delivered, one on top of the other.

Natale's Ulysses is brash and outspoken, but also severely vulnerable. Wearing an oxygen hose from a small backpack on his back and a wide bandage on the length of his chest, he needs a bit of help getting his plaid shirt on. With a strong Southern accent and quips, such as calling a Moon Pie “hairier than a cat,” but with quick-witted retorts, Ulysses may come off as a low-life who couldn't recover from what life, and his own actions, gave to him. As a self-proclaimed “practicalist,” he is a near nudist to save himself laundry, only dressing himself after the constant requests from Emma.

Promised with “five minutes” of his time, Winter's Emma extends that past just “passing through” as she put it, making his humble abode her own. With luggage full of her clothes, along with household ornaments she picked off when she scurried out of her Boston home, she unpacks her baggage, both literally and metaphorically. Even though estranged from Ulysses for that long of time, Emma shows moments of compassion toward the broken man and his well-being, bringing in $160 worth of groceries, unpacking them and sorting them according to their own category.

With just a couple of breaks near the beginning, Natale and Winter go on a marathon of acting, never truly getting a break to recover from a heavy moment or catch their breath, which is admirable from the seasoned leads. Not only is the line reading top notch, every action, from blocking to just interacting with the set, is carefully considered and has a purpose.

Thrashed Trailer

 As cliché as it might be to say, the single room set is a character in itself. The diorama of his home looks as if one side of a real trailer was precisely snipped off to show everything that happens between the two characters.

 The set designer, Terry Tennesen, and set dresser, D.D. Wigley, should be applauded for even going as far as showing the outside, with dirt and everything that could be found outside, such as tools and tires. Small but appreciated touches include the sink and toaster, functioning as any would, adding more immersion to the experience.

 Through the actions of its two characters, the trailer evolves from its cluttered self to a more colorful version and reveals traits about its characters throughout the play's 90-minute runtime. Each crevice of the space is taken up by an article that could inform who Ulysses is as a character.

 Reconnecting

Throughout the production, Natale and Winter unfold the past of these pair of characters, ebbing and flowing with more lighthearted talk such as the disarray of Ulysess' trailer, to poking fun of Emma's flimsy past. It's when the drama hits that “Annapurna” truly shines.

There were many moments of either outbursts or reveals that sent a wave of silence throughout the small theater. As heavy as these were, they wouldn't have worked without the talents of Natale and Winter, hitting each beat with precision. Where it leads, after airing out nearly every bit of dirty laundry the two had, still surprises with a twist that hits hard.

One line of Winter's stands out, when she said to Natale's Ulysses, “Just because you left someone doesn't mean you're not in a relationship with them for the rest of your life.” Reflecting on those who have come and gone in my own life, there are still those connections, whether spoken or still silent, that will never pass. “Annapurna” doesn't just hint at this point, but instead fleshes it out to its fullest extent.

 “Annapurna” runs until Oct. 21 with Thursday through Saturday showings at 7:30 p.m. and Sunday matinees starting at 2:30 p.m.