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While watching a play, sometimes your own life suddenly appears onstage. It’s disconcerting, scary, and proof that theatre is a need, not a luxury. Following lots and lots of productions this season, one play snuck into my home and replayed itself for everyone else in the audience. It’s hard to rate a show with much distance after this thunderbolt occurs, but I’ll try.

Janece Shaffer’s Bluish is an interesting character study of the differences between those born into and those who convert to an idea (in this case, Judaism). It is often said that converts become more fiercely accepting and defensive about the religion than those to whom it was thrust upon without a choice. This concept is tested by newly-engaged Beth Richardson (Lindsey Marlin) and Ben Kishman (Tod Zimmerman), a modern couple, she a Christian, he, well, you can guess. When Beth discovers her mother’s roots lead back to the twelve tribes, she embraces what was once alien to her while Ben grows uncomfortable with this change. Arizona Jewish Theatre Company’s production of a script that recently premiered in Atlanta faithfully examines the issues of faith.

The script itself is a little fanciful in its dialogue. At times it is more interested in discussing theories rather than adhering to believability, but these exchanges do not cut into the audience’s ability to accept the characters. Director Wanda McHatton is not afraid to let her actors alight in one place for stretches while these discussions occur, which surprisingly does not make those sections tiresome. This goes a long way to giving the audience a chance to keep up. She has pushed the believability factor physically, and it’s a good trade-off.

The ensemble is also invested in their characters. Marlin and Zimmerman have a nice bond that grows frayed through the evening. Marlin’s conversion of Beth is slow but insidious, a change not only in beliefs, but vocal patterns and gait. Zimmerman’s reactions never seem forced. It’s easy to side with both of these performers. Drea Pruseau and Robert Holt are strong as Ben’s adoring, always intrusive parents. Pruseau is offered the opportunity to play a character that is more human, and she brings down her characteristic larger-than-life presentation to fit into this well-meaning mom. Holt shuffles through the scenes, a quiet, reassuring presence to balance Pruseau. Jenn Taber takes on the less meaty role of Ben’s sister, but she keeps it from becoming scene filler with her bright smile and her sincerity. Barbara Acker’s cameo as Beth’s Southern Belle stepmother Lane is an enjoyable bit of comic relief.

This season, the last in the dreadful environs of the Playhouse in the Park, seems to have been the year of the linear playing spaces. Scenic designer Thom Gilseth has created a cosmopolitan living room in an Atlanta apartment of unclear proportions (why does the kitchen door lead to a section of said apartment able to hold a very large party?). On stage right is a space that is never used until the final scene, and on stage left is the outer hallway where we get to see the reactions of people leaving, most of the time unnecessarily. This three zone set (with a nice little alcove in the back and a painting with a surprise) looks vaguely familiar to a few other of the shows mounted there this season. The good news is that AJTC is upgrading in a move to the Paradise Valley C.C. Performing Arts Center. This move will offer Gilseth and others the chance to break out of the triptych mode.