Joel de la Fuente gives an impressive performance in NAATCO's strong revival of Caryl Churchill's cloning drama.
As the play opens, one of these men confronts his father, Salter (James Saito), after finding out about the cloning, and wanting to understand how this could have happened -- as well as his father's complicity in the process. Salter purports to be shocked and outraged, but he keeps getting caught in lies and evasive answers so that anything he says needs to be viewed with some skepticism.
Director Maureen Payne-Hahner makes a few questionable staging choices, particularly in having de la Fuente pace back and forth through a good chunk of the first scene. The movement does not seem strongly motivated, and feels awkward, particularly in conjunction with Churchill's already somewhat stylized dialogue that uses a lot of fragments or half-completed thoughts, rather than fully formed sentences.
Nevertheless, de la Fuente gives an impressive performance as three very different variations on the same man. He changes both body posture and speech patterns while also infusing his portrayals -- particularly for his first two characters -- with subtle shadings of emotion that complicates the men's relationship to Salter, and gives an added poignancy to their interactions.
Saito starts out a bit stiffly, but gradually warms to his part, even finding the humor in certain lines, such as Salter's repeated insistence that he and his boys could make some money from the doctors and scientists who cloned his son. Saito is also quite touching in the play's final scene, as Salter meets one of the clones whom he had not previously known.