Sarah Ruhl's contemporary farce crosses the line from self-awareness to self-parody. Playwright Sarah Ruhl is on the record as not loving the words "quirky" or "whimsical" applied to her brand of reflective, heady, poetic quasi-comedy. I can't imagine she loves the adjective "twee" either, and yet there's no getting around how prominently it hangs over the arty, wry proceedings of this fr…
