“Foxes” a new play by Dexter Flanders now having a run at 59E59 theaters is appropriately named since the two central characters Daniel (an earnest Raphel Famotibe) and Leon (a complex Bayo Gbadamosi) resolve their issue following the age-old idiom of being “clever as a fox.”  Mr. Flanders has penned a complicated story that deals with themes of sexual identity, family, community, religion, and obligation. Tackling these many themes could prove to be daunting, putting the issues in the forefront and leaving the character exposition and development in the background. The structure survives at the cost of superficial characters lacking depth and dimension.

The plot centers around the relationship of best friends Daniel and Leon, and as the story unfolds, we learn that Daniel is responsible for the pregnancy of his girlfriend Meera (an honest, forthright Nemide May) and therefore immediately takes on the role of expectant father seriously. Meera has been disowned by her Muslim family but is quickly welcomed by Daniel’s mother Patricia (an intense Suzette Llewellyn) into their home. The familial member who exists on the periphery is Deena (an intuitive Tosin Alibi), who is young-minded, intelligent, and wise but never allowed to be heard. The tide turns when Daniel realizes his feelings for Leon lie deeper than friendship and initiates a surprise kiss, revealing to the audience that Leon is in fact a closeted homosexual. What follows is the complications that arise when Daniel decides to “come out” to his mother who quickly rejects him and throws him out. He returns to Leon who becomes angry because he is closeted and is afraid of the repercussions. How to solve this labyrinth of problems becomes the crux of the story.

Although the entire cast does a wonderful job reinforcing the reactions of their characters to the situations that arise, the audience never really learns much about them other than their present feelings. Daniel does appear between some scenes, tormented with arms outstretched as if being pulled in different directions but this is not enough to reveal his inner turmoil. Mr. Famotibe and Mr. Gbadamosi have wonderful chemistry but are not given enough time to develop their characters or their relationship. It just exists, causes problems, and is then resolved. Ms. Alabi digs deep into her character but is not given enough opportunity to develop a relationship with the audience. Ms. Llewellyn has a tough job overcoming the stereotypical role of maternal rejection void of compassion which although a reality, some inner turmoil must exist.

The set design by Erin Guan is serviceable but sometimes confusing using the same furniture for two different locations. The direction by James Hillier moves the action along at a good clip but lacks the emotional charge the action needs. The premise Mr. Flanders has chosen is refreshing, not relying on a “happily ever after” template. It is indeed a slice of life situation that the LGBTQ+ community faces all too often, but those situations are jammed packed with emotion and damaging psychological repercussions.