“Human Things,” a new play penned by Joshua Owen and directed by Rory McGregor, is presently playing at The West End Theatre at St. Paul and St. Andrews UMC. The play is laced with hints of absurdity and existentialism, and at times is reminiscent of the weird theater produced decades ago, devoid of theatrical devices such as video projections or special effects. Combining all these elements certainly lends to the feeling of something old, yet something new and fresh amid a somewhat stagnant theater scene. The inventive staging uses the odd but versatile space of the theater well, by dividing the audience in two sections on either side of the central performance area.

The play is set on a remote, uninhabited island in the Pacific, where Margaret (Rebecca Robles), an environmental researcher, with two PhD degrees, is collecting data for her latest project. She is accompanied by her less accomplished engineer husband Greg (Ben Rosenfield), who fits the bill of a jack of all trades but master of none. They are a young couple trying to navigate the security and insecurity that accompanies marriage, which is enhanced by isolation. To help subdue the hurt feelings of an argument they decide to have sex which is disrupted by the unforeseen arrival of Bo (Michael Mulheren), an older gentleman who crashed his boat into a coral reef. His wife Darce (Victoria Clark) has injured her leg in the accident and needs some medical attention. They retrieve Darce, and the eccentric old couple make themselves at home at the camp of the uptight and clueless millennials. Bo is interested in spreading his worthless wisdom, while Darce is interested in the bottle of Bourbon. If that was not a foreshadowing of gloom and doom, add the fact that a category five typhoon is about to hit the small island.

If that first act seems a bit too much, it is merely a setup for the fascinating second act. The typhoon has wreaked havoc on the camp, and Darce, barely alive being pinned to a rock with a metal rod through her chest. Bo is missing and after a search is nowhere to be found. Margaret realizes that she is pregnant but may not want the child. Greg discovers a giant, spiky, golden egg. He wants to hatch the egg, but Margaret wants to destroy it. Telling anyone would be a spoiler alert.

The entire cast is fine, digging into their characters and bringing bits and pieces of emotion from the past to the surface while always remaining in the present. Mr. Mulheren creates a Bo that is a perfect example of a hippie from the sixties with a wealthy boomer mentality. Mr. Rosenfield is scattered enough to convince the audience that Greg may be more adventurous and inquisitive than his character allows him to be. Ms. Robles exerts a commanding presence and authority but reveals her vulnerability with doubt and uncertainty. Then there is Victoria Clark who once again commands the stage and is the reason to see this production. She inhabits a quirky Darce who reveals secrets from her past but dwells on the present with no regrets. Even in the most absurd situation, she manages to deliver an honest and intelligent performance. She chooses her emotions carefully and delivers them with precision and clarity. She is a joy to watch.

Scenic design by Jacob Bers creates a frugal campsite with a billowing canopy, and a scene of destruction for the second act which is complemented by the effective lighting design by Reza Behjat. Costumes by Amanda Roberge are spot on, enhancing the broad characteristics of every character. Sound design by Ian Scot is clear and realistic. Mr. McGregor moves the action along at a steady pace and uses the small, compact space wisely. If you are tired of the never-ending revivals and looking for something offbeat and off the beaten trail, this might be a performance you need to see. It is a worthy piece of theater worth the trek and your time.