Every once in a while, there comes along a little gem of a play that certainly will knock you off your feet, especially if it is a first-rate production and impeccably performed by two remarkable actors. This happens to be the case at hand on the stage of The Irish Repertory Theatre, where Chester Bailey penned by Joseph Dougherty is now playing. It is a two-hander starring the well-known Reed Birney and his son Ephraim Birney, who turn in dynamic performances in a thrilling dramatic story.

It is the early 1940’s in Brooklyn where we find Chester Bailey (a fresh, innocent Ephraim Birney). He longs to enlist to serve his country but is bullied by his parents to stay home and take a job as a riveter at the Naval Yards as to avoid the possibility of being wounded or even killed. A shocking turn of events occurs when Chester is attacked by a co-worker with a blow torch, and he loses both eyes and both hands. As the play opens you find Chester lying in bed in a hospital on Long Island. Enter Dr. Philip Cotton (a subdued, bespeckled and sensitive Reed Birney), a psychotherapist who specializes in helping wounded soldiers suffering trauma, face the reality of their shortcomings.

Chester is in a state of denial and believes he is beginning to regain his sight and the use of his hands, which is impossible because his eyes and hands are gone. To prove his point, he describes a Van Gogh painting that hangs on the wall, which is not there and only visible to him. A figment of his imagination. When asked why the staff hand feeds him, he declares it is part of the service of the hospital. In his treatment of Chester, Dr. Cotton becomes disillusioned, being recently divorced, limited to seeing his daughter once a week and having an affair with the straightforward wife of his boss. The pair have come together and there is a thin line separating who is helping whom to heal. There is one scene where each imagines a sexual encounter simultaneously, Chester with an imaginary woman who works at a newsstand in the train station and Dr. Cotton with his mistress in the back of his Plymouth. Chester’s encounter ends up being an unfortunate situation that may cause a scandal because it involves staff at the hospital. Dr. Cotton’s encounter becomes vapid when he realizes the absurdity of the situation.

Mr. Dougherty’s script is rich, and the language is fluid and clear, as he provides scenes that bring Chester’s imagination to reality. At the same time, you see Dr. Cotton disintegrate into disillusionment as his reality cannot be saved by his imagination. It is a slippery slope these two actors must navigate. The younger Birney brings an honesty to his imagined life to the point where you see what he sees. His vulnerability is only surpassed by his intellect. His mind is crowded but clear and organized. The senior Birney is a master at his craft. Glances reveal hidden emotions, incidental pauses speak volumes, and he allows the words to inhabit his soul. These two actors exhibit a chemistry that is rarely brought to the stage.

Director Ron Lagomarsino guides his cast at a steady pace and gives free rein for the actors to delve deep into their characters, never letting them slip into melodrama or melancholy. John Lee Beatty creates a beautiful scenic design with towering steel girders and institutional tile. The lighting design by Brian MacDevitt transports us to various places while still creating haunting shadows that cast a spell over the cavernous space. Kudos to the entire creative team.