Lost Lambs

I’ll admit, I side-eyed *Lost Lambs* at first. Another ‘family drama’? But within 20 minutes, I was hooked—not by grand emotional arcs, but by how *accurate* it felt. Cash has a knack for writing dialogue that sounds like it was eavesdropped from the next booth at a diner, all half-finished thoughts and passive-aggressive jabs. The story follows three siblings reuniting after their mother’s death, but ‘reuniting’ is too generous a word—it’s more like they’re circling each other, armed with old grudges and fresh delusions. The middle sister, a failed influencer with a martyr complex, is particularly brilliant; Lakin nails her voice with a mix of breathy sincerity and eye-roll-inducing self-importance. Lakin’s performance is a masterclass in tonal range. She doesn’t just *do* voices; she inhabits the characters’ rhythms. The brother’s smarmy confidence, the youngest sister’s brittle cheer—each feels distinct without veering into caricature. My only critique? The production’s occasional uneven volume levels (some whispered lines get lost if you’re listening in a noisy space) and a subplot involving a missing cat that feels like a missed opportunity for deeper satire. Still, the audiobook’s strength lies in its refusal to tidy up the mess. The ending won’t leave you sobbing or cheering, but it *will* leave you texting your siblings to say, ‘Wait, we’re not *this* dysfunctional… right?’