While playing a reverend presiding over a funeral, Dominic Hoffman introduces us to “three C’s” that have nothing to do with gemstones: clarity, closure, and the circle of life. These concepts become the warp and weft of the story Hoffman weaves about a man who has died a mysterious death, and another who is searching for clues to the first man’s demise. In his search, the second man (represented by the audience) meets a host of characters including an expat British cabbie, a resident of a crack house who’s contemplating jumping from the roof, a Beverly Hills call girl, a gay dancer in his West Hollywood studio, and a landlord who fastidiously trims his rosebushes. Each of Hoffman’s representations of these diverse personae is distinct and memorable, but some of the funniest lines come from the roof-dwelling man’s riffs on race and stereotypes. He is mad about a lot of things, but he doesn’t “call it anger.” To him it’s just “a logical response to a fucked up …

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