On the one hand, Keely and Du remains, if anything, more depressingly relevant today than it was when first performed twenty years ago. On the other hand, it’s over-the-top politically preachy. And preachy can work, but it needs to be balanced with a strong plot and characters.Overlal, Keely and Du is too much message and too little story, which is a shame. The play’s got a pretty intriguing idea behind it.After being raped by her ex-husband, Keely wakes up chained to a bed in a basement. A pro-life group kidnapped her to prevent her from getting an abortion, planning to hold her until shortly before she’s due to give birth. Her warden is Du, an older woman and fanatical anti-choice supporter.The concept is terrifying: being held against one’s will by a group of zealots is the stuff of nightmares. And given some of the lengths anti-choice groups will go to prevent abortions – combined with their treatment of pregnant women as non-entities – the concept doesn’t feel nearly as ridiculous and unrealistic as it should.But the play’s overly-loud drumbeat regarding abortion rights gives the whole play the feeling of a strident lecture. The people most likely to see the play likely already agree with the playwright, which begs the question: what, exactly, is the point of such an overly-political play if it simply preaches to the choir?While reading, I kept thinking Ms. Martin would have been well served by borrowing from some classic science fiction (the highbrow stuff) – namely, taking modern issues and putting them into a different situation to examine them without the baggage. Yes, abortion is unique, but I think the play could have had a stronger punch and attracted a wider audience if it had focused on the story and the underlying message rather than the issue. Quasi-recommended.