US Premiere of WHAT IF ONLY Extended
"What If If Only is harrowing from nearly the first instant, as a woman begs her late husband, who may have committed suicide, to make contact from beyond.
By: Chloe Rabinowitz

Mia Katigbak, co-founder and actor-manager of NAATCO, today announced that NAATCO will extend on demand performances of the US Premiere of a new play by Caryl Churchill, What If If Only, realized by Les Waters and Jared Mezzocchi. The performances will be available through Sunday June 20th only.
"What If If Only is harrowing from nearly the first instant, as a woman begs her late husband, who may have committed suicide, to make contact from beyond. 'Are you not trying?' she cries. 'If you'd wanted to talk to me you could have stayed alive.' Soon the husband does appear, as the wisp of a ghost that could become real, he says, if only his wife would make him 'possible.' Merging Churchill's frequent themes of dread (Escaped Alone, Far Away) and duplication (A Number, Love and Information), What If If Only dismisses its speculative worlds as quickly as it creates them. The wife's despair, tearing a hole in space-time, soon releases a multiplicity of possible versions of her husband, had he lived, crowding out the 'real' one. Even when she shoos them away in terror, one remains stuck in her hair. 'Just brush with your fingers,' her husband says gently. 'All gone.' I call the main characters "she" and "her husband" because the livestreamed production, perfectly and creepily "realized" by the stage director Les Waters and the theater tech guru Jared Mezzocchi, casts the roles to suggest that the mourner is a woman (Mia Katigbak, superb as always) and the ghost is a man (Bernard White). But the play's horror, which in Churchill is never just cosmological but also spiritual, comes from the combination of its radical relevance to any human and its freakish compression, in which 14 minutes becomes a literal deadline. The extreme brevity - typical one-acts more often last an hour or longer - serves as a tool, like a socket wrench, to make clear that grief is unbearable, even in small doses," wrote Jesse Green in The New York Times, June 16th, 2021.
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