In her comedy/drama Dig Theresa Rebeck (Bernhardt/Hamlet) examines the transformative moments that happen imperceptibly to individuals, when no one is paying attention and they are least expected. With serendipity and the synergy of human need, responsiveness and emotional immediacy, the energy for change becomes the forward momentum of this superb, exceptionally acted and directed production. Rebeck, wearing two hats as director and writer, effects a powerful character dynamic in the play, which first premiered at the Dorset Theatre Festival in Vermont, and is now enjoying its New York City Off- Broadway premiere at Primary Stages, 59E59 Theaters.

With striking characters that Rebeck displays in their quirky, raw humanity, gradually stripped away to their bloody core in an identifiable, magical coalescence, the themes of hope and resurgence are unveiled. That this happens in a small town which is imploding for want of commercial viability, and to an insular shop owner in need of a personal revolution, is all the more engaging.

Importantly, in Dig, Rebeck prods us to recall verities of redemption and reconciliation, which abide in all of our lives. Second chances are possible, regardless of how dire or malevolent the circumstances appear in the lives of the damaged, lost and hurting.

The setting for hope and transformation is fitting. It is the plant shop, “Dig,” where set designers Christoper Swader and Justin Swader have done a magnificent job in displaying wall to wall greenery, and later, as the characters spark to life and regeneration, floral beauty. Roger is the reticent, thoughtful owner who has created “Dig.” He controls his singular botanical world, is knowledgeable about plants, and is an amateur botanist who has a “knack” with encouraging dying plants back to life. Healthy and unhealthy plants are a perfect metaphor for the human condition, and Rebeck with tongue-in-cheek amply uses this metaphor selectively and profoundly.

The playwright initiates this metaphor and other concepts in the opening scene between Roger (Jeffrey Bean in a brilliant, nuanced performance), and his longtime friend, Lou (Triney Sandoval effectively portrays his feisty and catalytic counterpart). Lou has abused a plant Roger gave him with the unwitting behavior of a plant neophyte. He’s underwatered and overwatered the “elephant ears” to it’s last “breath.” As Roger chides him like a school teacher, Rebeck’s humor gains traction. Immediately we understand the relationship between Lou and Roger and the otherworldly importance plants have in Roger’s life. After scolding Lou, he assures him that he will salvage the dying plant. Lou is relieved.

The action redirects when Lou’s daughter Megan (the terrific Andrea Syglowski), speaks up in defense of Roger about the money he gave Everett (Greg Keller in a humorous, off-beat turn) to buy them coffees. Megan, who has quietly disappeared into the background, sitting near the door, is barely noticeable because of her withdrawn posture. Additionally, she is overshadowed by the lively, antic banter between Lou and Roger. Clearly, there are undercurrents in Lou’s neglect of the plant and Roger’s gentle upbraiding. Concurrently, Lou’s suspicion of Everett, Roger’s truck driver, who Lou says smokes pot, is a criticism which chafes Roger.

Lou’s neglectful plant care and his guilty response have more meaning we discover later, when the parallels between caring for plants and caring for human beings comes to the fore. Likewise, Roger’s permissiveness with Everett comes back to “hit him in the face” like a bad karma rash.

In this initial exchange Rebeck has laid the foundation for the interactions among Roger, Lou, Megan, Everett, and Molly (the fine Mary Bacon), who drops in a bit later looking for tulip bulbs. Like strategically placed dominoes that topple and swerve around corners, do complicated gyrations and elaborate tricks, the characters’ knock and shuffle against each other with various encounters, emotional explosions, jealousies and eventual quietude, which Rebeck brings to a poignant and satisfying conclusion at the end of the two hours and one intermission.

How she effects this character sleight of hand, under-girded by the superb actors, leaves the audience feeling they’ve experienced a series of events with surprisingly disparate individuals who, are somehow similar. Each attempts to affirm their identity and place in a life that may or may not have meaning for them, save Roger who is perhaps ahead of the others in finding his place, though the town is dying like a poorly cared for plant. Into this mirror of humanity, we note the pain and struggle of finding a way to understand others, when not all of their truth has been revealed.

Megan, fresh out of prison and rehab is living with Lou, her adoptive father, who has taken care of her for her entire life. She lives with him because she has no money and nowhere else to go. She is responsible for an accident during which she killed her son through negligence. Confused, filled with guilt, Megan tried to end her own life and failed.

This backstory is revealed gradually by discovery through the comments the other characters make about Megan when she isn’t in their presence. Rebeck’s skill in disclosing who Megan and her father are, their close relationship, and the town’s response to Megan’s responsibility in the accidental death of her son, is effected with power and realism. It is a sad tale that has hushed up the community and left Megan with few friends except for the comfort of her father, her trying, martinet-like AA group, and Roger, Lou’s best friend.

Apprised of Megan’s story, Roger is tentative and gentle with her. But he is bewildered when Megan screams at a customer for being nosy about recognizing her (most probably in the news reports on TV). In a follow up of her anger, Megan curses Everett and forces her father to leave before they’ve enjoyed their coffees. Her fury is shocking, however Roger takes it in his stride and defends her against gossip which Everett repeats. It is in Roger’s and Everett’s discussion we learn the way which Megan accidentally caused her son’s terrible death.

In this pivotal scene the stakes are unveiled and Megan’s volatile, unbalanced personality which Lou has confided to Roger places her on a knife’s edge. However, Megan returns the next day to apologize to Roger and is manipulative in wanting to ingratiate herself with him for a job. Interestingly, the job would make her feel useful; she does not want to be paid. And though Roger says he needs no one and rejects her, she pushes her way in, immediately demonstrating her usefulness by potting a plant, Perhaps, she can make a difference in the shop, can stabilize her life and reinvigorate Roger’s life as well.

In her actions, we are watching Megan throw herself a lifeline. Drawn to something in Roger’s nature, perhaps his empathy and his incredible weirdness in caring for his plants and in setting up his environment which is soothing and peaceful, she attempts to try something different.

That Roger allows her into his life to “disturb his peace,” and assist him for no pay, is something that Lou objects to out of fear for his friend. He knows her unreliability and feels guilt for Megan’s causing the accident. Furthermore, with her alcoholism, unless controlled, she can “fly off the handle” and explode into a frenzy.

In a protective mode, Roger recognizes that she is willing to change and work toward improving herself with her apology. It is unmistakable that she took responsibility for acting improperly. Her humility to change is again affirmed for Roger when Molly comes into the store and Megan apologizes to Molly and accepts Molly’s invitation to a prayer meeting at church.

In Act II “all’s well that ends well,” until it isn’t. By that point the shop is blooming with lovely flowers and Roger has fired Everett for his pot smoking antics in the truck and his disrespectful, judgmental attitude about Megan. In an argument which Roger won, Roger suggests his critical attitude toward Megan is unfair because the details surrounding her son’s death were uncertain. Roger has feelings for Megan. And though she senses it and tries to advance their relationship beyond friendship, we learn that Roger has spurned her attentions.

It is in this act when her former husband Adam ((David Mason’s portrayal is potent and searing), tracks her down to to confront her about their son’s death. Once again, Roger defends her. However she stops him and forces him to leave so she can hash out the issues with Adam. This revelatory scene is another turning point where we understand their relationship in an explosion that Roger cannot mitigate or influence. It is up to Megan to deal with the shreds of her life that remain, with the only intervention that might heal her-Roger and the plant store-which she has influenced and helped to make thrive in the fading town. But there are obstacles. Everett resents her taking his place. And in an underhanded, slick seduction, his actions influence her to leave so he can get back into Roger’s good graces.

Rebeck and her cast and creatives have put together a smashing work whose honesty and power is breathtaking. DIG is a refreshing, bold, funny and poignant production which defies easy definition.

In magnifying Rebeck’s vision, the superb design team worked overtime. They include Christopher Swader and Justin Swader (scenic design), Fabian Fidel Aguilar (costumes), Mary Ellen Stebbins’ atmospheric, mood-suggesting lighting design and Fitz Patton’s original music and and sound design. These creatives give the production the medium which allows the actors to seamlessly move and inhabit their characters with humor and probity.

DIG is memorable and metaphoric and profound. In a limited engagement until October 22nd, it is not to be missed. For tickets and times go to their website https://primarystages.org/shows/current-season/dig/