Another day, another life-changing Rashomon.
The scene set by the new Megan Mostyn-Brown play The Bends presents a typical collection of 30-ish professionals in middle-class Chicago, eating conventional guacamole - but with hugely different recollections of a seismic event that sent them careening away from each other.
For all its nonthreatening surfaces, the story unfolding at Saturday's Flashpoint Theatre Company opening is a serious descendant of The Visit (successful woman returns home where men have done her wrong) and Gods of Carnage (polite veneer disintegrating with real carnage to follow) - wrapped up in 90 minutes.
Successful author Gemma reunites with college friends, having written a best-selling novel that makes them look bad. This opens up reservoirs of unresolved issues surrounding a booze-and-drug fueled seduction that went devastatingly wrong. Director Kathryn MacMillan, who commands a fine sextet of actors, writes in her program note, "Making a mess takes far less time than cleaning one up."