Small Mouth Sounds, SpeakEasy Stage Company, Roberts Studio Theatre, Boston Center for the Arts, through February 3. 617-933-8600 or bostontheatrescebe.com

Is the world 'too much with us'? William Wordsworth warned exactly that in an early 1800's sonnet to that effect. Bess Wohl surely agrees in her witty, insightful and often amusing 2015 play "Small Mouth Sounds."

Here urban pressures are escaped and technological trappings are verboten during a week-long stay at a meditation retreat in the woods designed with disarming simplicity by Cristina Todesco . In fact, this clever playwright—who actually experienced a retreat herself—has written a largely silent but always involving 100-minute work in which words largely take a back seat to feelings, body language and reading the essence of others.

Now SpeakEasy Stage Company—in a taut area premiere from guest director M. Bevin O'Gara—is voicing this search for personal clarity, serenity and mutual understanding as vividly as the sublime Off-Broadway original (also seen by this critic).

As in New York, SpeakEasy calls on audience members to take their seats around a modified thrust stage (theatergoers on three sides) of a cozily reconfigured Roberts Studio Theatre. Gradually six diverse participants—three women and three men—occupy the space on the fourth side—five in chairs and the sixth in a yoga pose on a mat. An unseen guru reviews the retreat rules—including speaking limited to specific Q and A, no food in dwelling areas and no phones—and guides the sextet via overhead speakers through such activities as writing down their intentions and sharing retreat 'rooms' two by two. Participants stare disapprovingly at a secretly eating or laptop-using scofflaw. By contrast, they sometimes follow each other's lead—for example removing shoes for meditation or letting go clothes-wise after Ron disrobes and runs naked into off-stage water.

Sherlock Holmes and Hercule Poirot fans will particularly warm to the way in which Wohl has the audience develop individual profiles of the characters much as the retreaters do about each other. A simple photo takes on haunting pathos when it reappears, while a ring leads to a confrontation. In some cases, facial expressions as the guru makes serious observations about illness and mortality serve as revelations about the people reacting. Eventually the participants experience respective moments of truth during which some reach a transforming understanding while others look to find a calm reality.

No matter what the transformation or reality, a very strong cast—both individually and in ensemble—brings rich expression to the experience. Marianna Bassham captures The Teacher's European-like accent as well as her tenacity as a guru. She also brings a muted voice to her vulnerability as a personal ordeal pushes her to use her own cell phone. Nael Nacer catches ski cap donning Ned's likeable quirkiness. He beautifully balances the humor and the angst of his ostensible question that actually explains why he covers his head at all times. Gigi Watson persuasively moves from a kind of technology-centered OCD and social distance to a greater openness to her fellow retreaters. Sam Simahk has yoga and meditation propelled Rodney's easy confidence about his impressive physique and his enigmatic demeanor with the people around him.

Kerry A. Dowling as Joan and Celeste Oliva as her loving partner Judy are arguably the most sympathetic of the retreaters. Dowling has a standout stretch of rage during Joan's deep concern for Judy. Oliva is very moving in Judy's plaintive moments with Judy. Barlow Adamson demonstrates his considerable comic talents as Jan lets loose during a ritual dance as well as his touching torment in revealing the key to his own silence. Kudos goes to Annie Wiegand for the poetry of the ensemble ritual fire and the intimate nighttime lighting of the three retreat units. Elizabeth Cahill smartly evokes the diverse sounds of the retreat—most notably an unseen menacing bear.

At one point the guru tells the retreaters, "Perhaps you are the teacher and I am the student." Audiences can learn a lot from Wohl's serio-comic play. "Small Mouth Sounds," powerfully voiced by SpeakEasy Stage, is a must-see lesson about human connection and sharing.