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When Una and Ray begin talking in David Harrower's emotionally wrenching "Blackbird," currently receiving its regional premiere from Utah Repertory Theater, we think we know exactly who they are. Society has given us labels to define them: He is the abuser, and she is his victim.

What becomes more apparent as they confront and evade each other, hide and reveal their emotions, review and share their different versions of what happened and how it changed their lives, is that such a simplistic, formulaic approach tells us nothing about these two people. "Blackbird" develops into a fascinating duel, with words as the weapons.

What gives this play its almost-visceral wallop is that it's also a perverse kind of love story.

The facts are clear enough. When Una was 12 and Ray in his 40s, they had a sexual relationship. Ray was tried and sent to prison, and Una attempted to go on with her life. Now, 15 years later, through a picture she saw in a trade magazine, she has tracked him down in a different state with a different name.

But to do what? To expose him, to attack him, to humiliate him, to make him confess how he wronged her, to force him to say he's sorry? Even Una doesn't know exactly why she's here.

And how is Ray, now called Peter, supposed to react? He defends himself, he protests he's entitled to a new life, he separates himself from typical predators by asserting, "I've never loved, desired anyone that age again."

What becomes clear is that they both desperately need to understand what happened between them, especially on the last night they spent together, and why they became obsessed with — and remain drawn to — one another.

These are two damaged people. Were they always that way, did the damage result from their encounter, or does the truth lie somewhere in the middle? When Una admits, "I don't know what to believe," we're right there with her. And something occurs late in the play that deepens that dilemma.

Only making things muddier is that certain cultures and religious traditions would consider Una and Ray's relationship acceptable.

Anne Louise Brings and Mark Fossen attack their roles with focus and relentless energy, making the intensity of Una and Ray's relationship palpable. Harrower's dialogue crackles with electricity, and Brings and Fossen ride it with instant shifts in emotion and body language, tender and vulnerable one moment and volatile the next. L.L. West's taut-as-wire direction keeps the unfolding action tense and on track.

Thomas George's break-room set is as messy and cluttered as these characters' lives, and Lee Hollaar's lighting emits an eerie green glow that makes what's happening seem increasingly surreal.

"Dealing with unfinished business is a ragged, painful, uncomfortable, heart-wrenching process," West remarks in his director's notes. "Blackbird" exposes the anguish and ambiguity of that process and is guaranteed to give its audience plenty to discuss on the way home.

Utah Repertory Theater's 'Blackbird'

David Harrower's emotionally wrenching play receives a consistently compelling production from Utah Repertory Theater.

When • Reviewed on July 14; plays Fridays and Saturdays at 7:30 p.m. through July 30, with an additional show on Sunday, July 30, at 3 p.m.

Where • Sorenson Unity Center, 1383 S. 900 West, Salt Lake City

Tickets • $20; $17 for students and seniors; http://www.utahrep.org; contains adult language and situations

Running time • 75 minutes (no intermission)