While their husbands are away, two upper-class wives discover they share a romantic history with the same man, who is about to pay them a visit.

It’s cool how modern it feels. Noël Coward’s 1925 text has been punched up, for sure; there’s an Additional Material by Claudia Shear credit that isn’t being trumpeted very loudly, but is clearly more of a “Material Subtracted by” role. The resulting Fallen Angels is a brisk one-act that offers its dual women protagonists a remarkable-for-the-day degree of agency and debauchery. A lengthy and hilarious centerpiece scene sees Rose Byrne and Kelli O’Hara flexing their drunk-acting chops as two unraveling friends afflicted with wealthy ennui. It feels—I don’t know, is “revelatory” too strong of a word? I just haven’t known Kelli to play funny roles, let alone something so thoroughly slapsticky, and that’s partly what makes it work so well. In the talkback they told us that Coward writes few stage directions and almost all the physical comedy is production-specific, a fair bit of which emerged organically during rehearsals. Feels like this is what Roundabout does best: the well-funded, fine-tuned-but-not-overhauled revival.