Review: EVERYTHING IS WONDERFUL at Keegan Theatre

 The title of the devastating and psychologically complex play entitled Everything is Wonderful is considered to be code in the Amish way of life, but it is, concurrently, a bit of an ironic title as well for a play that looks to differing points of view for its appeal (the “English” culture might consider this phrase to be almost ironic). 

This immersive and penetrating play is presented on the intimate Keegan Theatre stage space and keeps the audience absorbed with authentic Amish dialogue/word usage and accents as well as the almost continual interplay of the small cast of six uniquely drawn characters. As the characters face issues of forgiveness, betrayal, loyalty and a testing of their inner angels and demons amidst a tragic incident (involving two fatalities killed by a driver of a car) that has occurred, there is also a subplot involving a shunned daughter who attempts to find some connection to the family that shunned her. Playwright Chelsea Marcantel has kept “no stone unturned” in exploring the themes of unconditional love, forgiveness, compassion , community, hatred, and inclusion.

Director Josh Sticklin continually shifts the action from the past to the present with a sense of continual reality shifting perspectives that are imperative for playwright Chelsea Marcantel’s genius at elucidating on how one person’s action or silence can affect what seem like “eternities of torment.”  The contemporary world of the “English” collides and intercuts with the Amish code of forbearance, forgiveness, and an inherent belief in the value of suffering throughout this ruminative play that demands the utmost mindfulness. Brokenness in a world of imperfect constructs, accepting without total closure, and healing and transformation are continual themes that ebb and flow through this probing play.

Playwright Chelse Marcantel has created a play that applies a “Rashomon” effect throughout ---the two parents Esther (Susan Marie Rhea) and Jacob (Michael McGovern) see the same tragic events that have occurred with totally different responses and viewpoints. The shunned daughter Miri(a phenomenally fluid performance by Leah Packer) believes that the unfortunate driver of the car is a fake interloper until she finally forms an outlier bond with the character of Eric (a rangy and engagingly raw performance by Max Johnson). 

These interactions are intricately explored amidst questions of how to forgive oneself in an unforgiving world and the concept of what defines a “home”--- a physical place or an interior sense of self? Is ostensible inclusivity more important than the persistence and stolidity of the person who practices ostensible conformity to a set of rules?

Playwright Chelsea Marcantel continues to probe themes as the character of Abram (a fine performance by Ben Clark) is accepted by the Amish family even though he was the agent of much trauma for Miri. The character of Abram is even allowed to court the totally accepted daughter of the family Ruth (the excellent Sasha Rosenbaum). 

Scenic design by Josh Sticklin is meticulous and full of texture----Amish kitchen and utensils and table at stage left,  a center stage space, and a barn and loft on stage left are impressive and exude warmth. An interactive feeling to the play exists as the actors often enter directly from the theatre’s aisles and as they sit on the apron of the stage.

Lighting and projections design by Hailey LaRoe are highly effective –full of atmospheric hues and panoramic view of the countryside.

Costume design by Paris Francesca is incredibly detailed in its presentation of  the Amish community.

It is quite hard to think of other plays that remind me of this play’s unique qualities and that is a tribute to the authentic voice of the playwright. (Playwright Annie Baker does employ this deliberately paced technique).

The Keegan Theatre’s company of actors pull off most all of the myriad and shifting tones of this play-- but this is a very demanding play to perform to perfection. The fine actor Michael McGovern needs to raise his voice a bit to be heard, there is an infusion of a pronounced Irish accent or two in the cast, and there needs to be a bit of a heightened pace as the tension flags in certain spots in the play (technique -wise, this may be a result of director Josh Sticklin’s respectful nod to deliberate pacing to respect the ritualized mode of many of the Amish traditions in the play ---but there needs to be a tauter use of the intermixed tones of the play). 

I heartily recommend that people see this ambitious play because of playwright Marcantel’s vital themes --but this play is not quite at the top-notch level of past Keegan offerings such as Dogfight, The Best Man and August: Osage County (which were all extremely well done and way above the norm in taut control of tone). A slight bit of tweaking should bode well as the play continues what should be a well-deserved and highly attended run.

I do agree with the statement of Keegan Theatre Artistic Director Susan Marie Rhea in her “welcome” letter in the front of the printed program: “…..the struggle to listen and understand is the beating heart of this piece.  It is my hope that everyone leaves in conversation with each other, and with a sense of how things might be different, if we are all willing to consider a different view.”

Everything is Wonderful is an extremely ambitious play that explores themes all too rarely presented in today’s volatile climate---it demands to be seen for that reason. The Keegan Theatre should be commended for presenting a play that pleads for listening and reciprocal conversations among those with differing views.

Running Time: Two Hours and fifteen minutes with one brief intermission

Everything is Wonderful runs through October 5, 2025 at the Keegan Theatre at 1742 Church Street, NW, Washington, DC, 20036. For tickets go to:  https://keegantheatre.com 

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