When certain elements are introduced in the course of a play, they have specific, set-in-stone effects on the play's events. For example, if at some point a gun is shown onstage, that gun must be fired by the end of the show. Sam Marks's new work, The Bigger Man, brings to mind two more: If a character suddenly "finds religion," that religion is always a cult. And if a guy shows up at his ex-girlfriend's wedding, that guy will cause a whole lot of trouble. The ex in question here is Len, whose former amour Lily is getting married to a gentleman named Mike in her rural Pennsylvanian hometown. Len's a (supposedly) reformed drug addict and thief who's brought his unreformed, unrefined stoner buddy Rick with him to stay at an ugly motel the night before Lily's wedding. The two New Yorkers are undone by the remote locale and consider some cannabis-flavored relief, but also talk about a promise not to do drugs, which they made when they signed something on their invitation.
Lily's brother Jerry appears and wants them to leave. He hasn't forgiven Len for abusing Lily and stealing from her while they were dating. Len refuses to go, saying that Lily called him and asked him to attend. Jerry warns them about what they signed and leaves.
After a number of scenes like this, which are blacked out in the middle of thoughts, it gradually emerges that Lily has devoted herself to the Foundation, a spiritual group to which her brother, fianc
