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Zagredas memory, and remembrance triggered by memory, that an exact place in time in the timeline can elude the audience.As an overall narrative it has an expected arc, but some of the finer points that could bring a piece like this to the next level are not there yet.(Zagreda refers to him simply as “dirtbag or DB” due to “legal reasons.”) The play opens with Zagreda giving a rundown of her disastrous and trashy wedding, playing upon both the cultural stereotypes of her own Albanian family and her husband’s Hispanic family and friends, showing both groups to have tendencies towards drama and violence.Initially, the two have a pleasant marriage, punctured only by the meddling of their mothers who fret over them not yet producing grandchildren.
DATING, DEPRESSION and DIRTBAGS presents a woman who is strong, but in transition.
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Able to describe and invoke her Albanian family with love and pride, often with humor, the sense that having wed an adulterer was somehow a flaw in her character that would disappoint her family seeps to the surface long before the words are spoken. Zagreda more than once toward the denouement of the evening acknowledged her family and friends for helping her get through.
While painting a dismal portrait of her ex, Zagreda does not spare herself scrutiny.