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Twizzlers; bikes; scary movies; sleepovers -- these should be the preoccupations of 14 year olds.

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PHOTO CREDIT: Monique Carboni., presented by the New Group at The Pershing Square Signature Center.In truth, this is not a play about friendship, but it introduces itself thus; brassy outsider Jenny and new-ish to town, burgeoning intellectual Emily gather in the former’s basement for a sleepover with all the proper, 14-year-old girl trappings -- horror movies, junk food, gossip, discussion of dreams and developing bodies.She also portrayed Princess Aurora in the revisionist live action fairy tale films Maleficent (2014) and Maleficient: Mistress of Evil (2019).In recent years, she made a transition into independent cinema with lead and supporting roles in films such as 3 Generations (2015), The Neon Demon (2016), 20th Century Women (2016), Mary Shelley (2017), The Beguiled (2017), I Think We're Alone Now (2018), Galveston (2018), and Teen Spirit (2018).He is both obnoxious and charming as he woos Emily (whom he calls “kid”) with his acoustic guitar, poetry, and grand -- if vague -- pronouncements about politics, music, women, and middle school (“Out of all that persecution I rose up to be the terrific guy I am today.”).

His character is so recognizable in the pantheon of teen mythology, that even possible flubs (a fumble with a box of toothpicks, for example) only serve to strengthen his rendering of a young man affecting world-weariness.As the younger sister of actress Dakota Fanning, she made her film debut as the younger version of her sister's character in the drama film I Am Sam (2001).As a child actress, she appeared in a string of films including Because of Winn-Dixie (2005), Babel (2006), Phoebe in Wonderland (2008), and Somewhere (2010).Despite preview performance jitters and stumbles, the couples deliver strong performances and find an engaging, if at turns problematic, chemistry.Those familiar with Abigail Breslin’s character in FX’s campy slasher series, will see parallels in her brave rendering of awkward, fast talking Jenny, far more vulnerable -- and more of a child -- than she lets on.The girl’s distance heightens the increasing isolation of the rest of the play, which suddenly careens headfirst into unspeakable territory.