By Tulis McCall
For the first few minutes of this extraordinary play, Marin Ireland rushes through the text and uses some old saws of expression that feel like leftovers from other productions. Luckily this does not last long, and soon Ms. Ireland is not only in full control, she has chosen a direction to take and is unhesitant about leading us to her destination. We are in good hands.
I give nothing away when I tell you that this play is based on the Sandy Hook shooting of 2012. Nor that Ms. Ireland plays a single mother whose son was killed on that day. That is where the predictable trail begins and ends. Where writer Martín Zimmerman and director by Leigh Silverman guide the story has a depth and stunning resonance that reaches way beyond the internal place you use as a boundary line between you and the world out there.
As a single mother, the Woman (as she is called) has no resources on which to call when the unthinkable happens. Neighbors are well meaning but short of stamina. She does not fit into the mold of a grieving parent because the father of her son came from a donor bank. A sibling is too far away. She has no real friends because she is an insular person who lived in the sunshine that came from her son’t smile. That gone, life is dark in deed.
She is, however, no pushover. Rather than fading into the dark she takes the opposite track and seeks out information in the only place she can find it – on a shooting range. As she comes back into the social fabric of her fellow mourners, the new relationship with the same type of gun that killed her boy remains under cover.
This is a character aware of her own every move. She calculates and measures life by the centimeter as she moves among the people who have taken charge of the legalities of this grieving process. She is detached but still on the razor edge of what passes for sane.
As the play progresses Ms. Marin transforms from a kind of cocky teacher, who takes on all comers, to a nearly translucent being who is kept alive by nothing more than the breath that sustains her. It is a development made exquisite by Jen Schriever’s lighting design. Like a flame, this Woman could disappear at any moment, and she seems to be toying with that possibility as she brings her tale home. Furthermore, she knows that if she did choose to vanish, she would do it on the exhale.
ON THE EXHALE – Written by Martín Zimmerman; Directed by Leigh Silverman
With Marin Ireland
Set by Rachel Hauk, Lighting by Jen Schriever, Costumes by Emily Rebholz, Sound by Bart Fasbender
Off-Broadway at the Black Box Theatre in the Harold and Miriam Steinberg Center for Theatre
Roundabout Theatre Company (Todd Haimes, Artistic Director/CEO) is pleased to present the world-premiere production of On the Exhale. This is the second play in Roundabout Underground’s newly expanded two-play season, following Kingdom Come by Jenny Rachel Weiner last fall.
The world premiere of On the Exhale is at the Black Box Theatre in the Harold and Miriam Steinberg Center for Theatre (111 West 46th Street). This is a limited engagement through Sunday, April 2, 2017. All tickets for Roundabout Underground productions are $25.