Provocative two-act emotionally powerful At a glance

Clashing memories and conflicting perceptions of reality spark explosive drama in “Anna Weiss.”

Red Herring Productions’ stirring central Ohio premiere, which opened Friday at the Franklinton Playhouse, finds the ravaged heart of Scottish playwright Mike Cullen’s play about false-memory syndrome.

Winner of a 1997 Edinburgh Festival critic's award, the twisty piece centers on a female hypnotherapist, her in-treatment protege and the young woman’s alienated father.

Danielle Mari’s crisp direction highlights the changing power dynamics but ultimately approaches the somber dignity of a classic Greek tragedy about

Red Herring Productions will present “Anna Weiss” at 8 p.m. Thursday through Saturday and 2 p.m. Sunday at the Franklinton Playhouse, 566 W Rich St. Tickets cost $25 in advance, or "pay what you want" at the door. Call 614-723-9116, or visit www. redherring.info. rageful confrontation, selfdelusion and family betrayal.

The three-member cast makes the 100-minute two-act as fascinating as an ever-shifting kaleidoscope.

In the therapist title role, Jordan Davis has the trickiest challenge.

At first, Davis' Anna is articulate and passionate but perhaps too argumentative about helping her charge. Davis gradually reveals disconcerting quirks, including a vengeful zealotry about “the notion of men” and their “tacky tricks.”

At the preview on Thursday, Davis built her character arc to a haunting climax.

Madison Garvin Lee projects strength and surprising maturity as Anna’s young client Lynn. (The poignant performance might be more powerful if the actress could show more anguish, especially later as she confronts her father after remembering unspeakable childhood abuse.)

As Lynn’s father, David, Michael Herring moves from stunned disbelief at the therapist’s demands and stuttering denials about his daughter’s accusations to harrowing bursts of molten fury.

Though a bit too schematic to do justice to its complex subject, Cullen’s tight production explores similar themes of reality versus perception with as much intensity as David Mamet’s “Oleanna” (about campus harassment accusations) and Arthur Miller’s “The Crucible” (about a witch hunt).

Though not as artful in balancing innocence and guilt as John Patrick Shanley’s “Doubt,” “Anna Weiss” resonates deeply.

A warning: The provocative play — suggested for mature audiences because of violence, sexuality and profanity — can trigger overwhelming emotions.

Ultimately, “Anna Weiss” works best as a portrait of three lost souls — and an ambiguous cautionary tale to argue over.