The play may feel familiar even to those who didn’t get to the premiere 12 years ago. (A certain continuity is thanks to the return of the original director, Anne Kauffman, our surest pair of hands for a contemporary play.) For over a decade, Barron’s writing has entered into the communal bloodstream; in informal polls conducted among theater students (my own), her pieces come up as touchstones and models — both for her naturalistic dialogue and her confessional, erotic-queasy, millennial point of view.