In just the first minutes of Bess Wohl’s “Grand Horizons,” a supremely funny comedy of marital malaise presented by Second Stage Theater, Jane Alexander and James Cromwell deliver a miniature master class in the art of slyly ambiguous acting — without so much as speaking a word.
Lunch is being readied, and while Alexander’s Nancy serves up the food, with a precision that suggests years of similar preparations, Cromwell’s Bill pours out the Crystal Light and makes final adjustments at the table. But does the silence that reigns between them connote contentment or hostility? Is it born of a companionable familiarity or boredom?
