December 9, 2012 8:18 PM
Call it political satire. Or macabre comedy. Or political allegory. Any label you slap on Wendy MacLeod’s “The House of Yes,” the quality of the play is what matters. This piece is defined by its unpredictable sense of humor, the wit and erudition of its sharp dialogue and its profoundly disturbing portrait of mental illness. It is, among other things, a love story about incest.