Academy Award nominee Rachel McAdams stars in the Broadway premiere of MARY JANE, written by Pulitzer Prize finalist Amy Herzog (4000 Miles, the recent Tony-nominated adaptation of A Doll’s House). Captivating, affecting and compassionate, it’s the story of a single mother in an impossible family situation. Faced with seemingly insurmountable odds, Mary Jane relies on unflagging optimism and humor, along with the wisdom of the women around her who have become a makeshift family, to take on each new day. But will inner strength and newfound friendships be enough to see her through? The New York Times calls Mary Jane “the most profound of Herzog’s many fine plays.” And The New Yorker raves, “beautiful and remarkable... Herzog has made theatre that shines.” Directing is the acclaimed Anne Kauffman (The Sign in Sidney Brustein’s Window).
When Alex has a seizure midway through the play, the mounting dread and panicked 911 call are distressingly familiar. So, too, is the purgatory-like state of the hospital waiting room, which is brilliantly conveyed through Ben Stanton’s stark lighting and Lael Jellinek’s deceptively simple scenic design. (We won’t spoil the set reveal, but it’s breathtaking.) Herzog thoughtfully poses big questions about faith and uncertainty and leaves the audience with much to chew on after the spiritual, ambiguous final moments. The play is beautifully directed by Anne Kauffman ("The Sign in Sidney Brustein's Window"), with an outstanding ensemble all playing dual roles.
“Mary Jane” is not a vehicle for showboating, or some explosive Mom vs. Society battle, and rightly so. Herzog’s drama is calm, and made up of slice-of-life conversations familiar to anybody who’s been a caretaker or knows one. And at times, I found director Anne Kauffman’s production too quiet for the Friedman, intimate though the venue is. Even a simmering show needs to build, and the middle of “Mary Jane” leans static.
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