A high-level intelligence officer and his wife welcome a cultural attaché from a foreign country into their home and into their lives. The result is a triangle of danger and passion. A play about secrets and what they do to those who possess them.
"Nobody but Lydia Stryk could have written SAFE HOUSE. Nobody at all. The play is about indirect communication, about people who are under cover, but the writing has at the same time a directness to it that pierces the heart and the soul and makes us wonder to what degree all of us are under cover, in every aspect of our lives. The play manages that mixture of removal and aching compassion that is a hallmark of this unique and remarkable writer. SAFE HOUSE, as befits its theme, is obliquely shattering." —Austin Pendleton
"Lydia Stryk has written a beautiful play about betrayal that will make your blood run cold. A perfect commentary on the terrifying times we live in and the perils of love and trust." —Kathleen Chalfant
"SAFE HOUSE turns the mirror-reality of the intelligence world on the private sanctum of the home. A beautifully terse, taut, and intensely disquieting play in which women seek assurance in camaraderie and love only to find them as unreliable as facts and truth." —Jonathan Kalb
"The crushing psychological burden carried by individuals who become involved, for whatever reasons, in the ambiguous and dangerous shifting of identities in the world of international espionage is chillingly portrayed in SAFE HOUSE. One is reminded of the nightmarish but all too familiar worlds of Sartre and Pinter." —Marvin Carlson
"Lydia Stryk is a poet of the everyday, its horrors and miracles." —Karen Malpede
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