The Barter Theatre clearly states in their promotional materials that the play contains adult content. We were ready for the performance to tackle mature themes, but it’s tough to be fully prepared for Blackbird.

Without a bit of research the title remains puzzling, but it’s apparently the American equivalent to “jailbird.” The director’s notes are oblique to say the least, and the description—“Fifteen years ago Una and Ray had a relationship”—well, isn’t very descriptive.

Even if the Barter’s synopsis includes the words “daring” and “taboo,” they’re perhaps rightly nervous they’ll discourage ticket sales if they use terms like “precocious” or “pedophilia.” I understand why they chose not to. Labels make it too easy for people to dismiss and not enter into the experience with open minds.

That being said, even reading a complete synopsis doesn’t do the play justice. As with acclaimed but disturbing films such as Schindler’s List, Amistad, or Boys Don’t Cry—Blackbird really needs to be experienced to be understood. Stories like these may make audiences uncomfortable, but they also allow viewers to put themselves in another person’s shoes and ask, “What would I do in this situation?” If they work as intended, they might even force us to reevaluate our knee-jerk responses.

The Barter production of Scottish playwright David Harrower’s award-winning work is undoubtedly a bold choice. It’s demanding to watch and one can only imagine how demanding it must be of the actors. Rick McVey and Ashley Campos are both topnotch in their performances, unfolding a complex history and taking turns making the audience question whose character is less stable. They’re both to be commended.

Truly a poignant experience, Blackbird makes for an intense 90 minutes. The questions that arise stick with you for days and may require self-reflection. If that’s what you look for in your theater-viewing, I highly recommend.

Taryn Chase has friends who warn her about movies she might not be able to handle. She’s still glad she saw Blackbird.