A most beautifully written monologue by a surprisingly young and obviously talented Megan Piercey-Monafu.  Mabel, a “young sixty” and  former actress whom we meet in a nursing home,   is preparing to don a beautiful costume, walk past the nurses and disappear into the night!  Her final performance! “Heroes” comes to mind but it evolves in a different way.

Mabel, slowly floating away into Alzheimer’s, is caught in her own mind   where  beautiful memories, confused dreams,  theatrical characters and a shifting present  show us  that she is  drifting  somewhere in a complex in-between reality that recreates its own special links with the world.  She dialogues with her former lover, as easily as she does with Nina (the Seagull), Cleopatra (Shakespeare) Joan of Arc (Shaw) and Hedda Gabler (Ibsen) and with Susan in the Nursing home, who comes and goes but who’s “reality” is not any more obvious than that of the theatrical characters who have lived with Mabel her whole life.

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Dead Wrong is dead right in every aspect. The simplicity and clarity of both writing and presentation enhance the complexity of the issues under discussion. The straightforward, high quality performance by writer/performer Katherine Glover is simply riveting. The compelling storyline is a young woman’s recounting of a horrific rape and its aftermath. As she says, henceforth, her life is sharply divided—life before and after the assault. Then, some years later, she discovers that she may have misidentified her attacker and may, therefore, have ruined an innocent life and that of his family.

Just how can she ever put matters right, if she was, indeed, dead wrong?

Go — run, don’t walk — to this show to find out.