Waters also deserves credit here beyond authorship. Producing a double-bill with tight turnaround, multiple moving parts, and a full company of actors is a genuine undertaking, and this evening had that tell-tale feel of something shepherded with care: clear, coherent, and properly audience-facing. Directed by Rafael Solimeno-Harris, the Fringe Feb versions were delivered in a staged-reading format, yet they consistently played “bigger” than that label suggests. The ensemble approach and confident character work kept the room theatrically alive, and Solimeno-Harris’ choice of music was an understated asset across the evening: used with taste, it helped reset the audience’s emotional ears between scenes, and it neatly underlined the tonal pivots, especially where Waters’ writing shifts from comedy into something sharper-edged.