Uncle MythMan reviews, saying ...

What is 'the Meaning'? It's no 'spoiler' for me to tell you; the meaning is "to work in order to find 'the meaning' (among many other things you find)."

That's what you find out in this play; but that's not a "spoiler," because a) this is a play you see to experience the performance (particularly if you know how influential the directing skills of Dr. David Pasto are upon eager scholar-thespians) and b) none of that is in the plot of the play.

The play is seven women in a play about six actresses in a play about working in theatre—you can see how it 'beats a dead horse from the inside' (which is a line from the character who is a reviewer of "the play about 'trying to put on a play'"): sort of like most time-travel movies, where one goes into the past to make the present more-ideal, but learns that the original present was/will-be the most-ideal already.

The play the first six women perform is about three women working on producing Anton Chekov's "The Three Sisters."

Emily L. Lloyd plays "Holly," a glamorous television star who only agreed to do "The Three Sisters" when her agent told her it would earn her 'refinement' for her resumé (in order that she might do a film with her clothes on).

Kate Stringer (my kind of "SWF," a highly 'literal' advocate for us smart-asses, cynics, sarcasm-scholars, under-appreciated & underrepresented) plays "Casey," an 'experienced' off-off-off Broadway performer.

And Kaitlyn Wright plays "Lisabette," a Texas-sweetheart fresh out of drama-school.

These three women interact with nine others (played three apiece by the unmistakable Gwendolyn Evans, the versatile Kristi Forsch and the devoted Aarika Trabona) to bring Anton Chekov's "The Three Sisters" from New York, New York, to 'Podunk,' Texas.

Along the way, playwright (the real one, not to be confused with the possibly-fictional Anton Chekov) Jane Martin has her characters reveal the things that steered their lives to this point, & she shows us–amid interjections on each particularly-meaningless scene's ridiculousness (from Erin Long's "Joby," the inner play's audience)–how they will continue to live.

The three triple-characters' changes are sped up by dressers Louisa Adams (who doubles as Sound Operator) and Kimberlyn Gumm (who doubles as Deck Crew for Stage Manager Austin Riffe).

The close-quarters of OCU's Stage II–a.k.a. Black Box Theatre–are excellently optimized by Lighting Designer Elizabeth Nordenholt & her Assistant Rickelle Williams.

The reason for 'beating the dead horse?' The dead horse may not "take" you anywhere, but–once you're inside–"It Can Be," writes Kaitlyn Wright, "Beautiful."