Like many women of the era, Anna and Claire live together, in turn of the century New England. Thanks to Anna's "protector" (i.e. lover), they behave like aristocrats. But when Claire has eyes for a young woman, the arrangement resembles a house of cards. David Mamet's critics said he couldn't write roles for women. His response, Boston Marriage shows not only that he can, but can also write ornate, Wildean dialogue leap years from his macho, American Buffalo grunt-fest. And be funny (Anna's as arch as his male leads; told she's an "evil old bitch," she ripostes, "I'm NOT OLD!"). Compass Theatre's staging was high on production values - Adam Lindsay's blushing rose, late Victorian parlor (with chintz even inside picture frames!), and Lisa Burgess's opulent costumes exude the period. But the cast - Anne Marie Houghtailing (Anna), Ravenna Fahey (Claire), and Michelle Brooks (the put-upon maid) - needed a few more rehearsals to convert elegant banter into comfortable expression. Don Loper's smart direction gave every indication they will.