That seems to be the most interesting aspect of Brooks' play: How can we expect people who have seen unimaginable horror to forget what happened and get with the program in their new country? But by tossing in awkward references to the future fate of Palestinians in Israel and the paranoia about communism in postwar America, Brooks tries to tie too many issues of victimization and prejudice together without giving enough breathing room to any of them. The Harold/Elisa storyline in particular feels strained and melodramatic — and since it's the spark to the story's most important twist, that's a problem.