Samuel Beckett’s theatrical genius reveals itself best in his short plays, many of them less than ten minutes long, as director Sean Graney illustrates in the Hypocrites’ trio of finely done one-acts. Stripping his work to its essence, Beckett never loses sight of the fact that these are not philosophical tracts but seriocomic pieces written for specific actors playing specific parts. The introverted woman in Not I, who spends her time endlessly ruminating about the past, is not the same at all as the hysterical middle-aged woman who chatters obsessively about the past to her mother in Footfalls, and neither resembles the three backbiting gossips in Come and Go. That Graney and his ensemble are able to sharply delineate all five characters, often given only a handful of lines, speaks volumes about their own theatrical gifts.