{"id":366909,"date":"2025-04-11T17:21:21","date_gmt":"2025-04-11T21:21:21","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=366909"},"modified":"2025-04-11T17:21:21","modified_gmt":"2025-04-11T21:21:21","slug":"shakespeare-opera-theatres-drowning-ophelia-is-narrative-feast-for-the-senses","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2025\/04\/11\/shakespeare-opera-theatres-drowning-ophelia-is-narrative-feast-for-the-senses\/","title":{"rendered":"Shakespeare Opera Theatre\u2019s \u2018Drowning Ophelia\u2019 is narrative feast for the senses"},"content":{"rendered":"

Rachel Luann Strayer\u2019s Drowning Ophelia<\/em> opens with a young woman going about typical young-woman stuff \u2014 being worried about having enough time to make dinner after work, yada yada \u2014 meanwhile, there\u2019s a sweet, virginal maiden frolicking in a bathtub behind her and vocalizing operatically about Valentine\u2019s Day.<\/p>\n

The contemporary young woman seems to absolutely hate the maiden, yelling at her to \u201cshut up\u201d regularly \u2014 and the maiden absolutely won\u2019t stop.<\/p>\n

\"\"
Sarah Daniels as Ophelia in \u2018Drowning Ophelia.\u2019 Photo by Lauren Sanfiel Armstrong.<\/figcaption><\/figure>\n

The young woman, Jane (Jessa Whitley-Hill), who goes by \u201cJanie,\u201d has signed up for improvisational acting lessons with a female-presenting acting teacher (Karina Hilleard), who we learn over time has been asked by Janie to play classically appealing male romantic leads in medieval times, Regency era, and the American 1950s. Meanwhile, Janie\u2019s older brother (Justin Meyer) leaves her voicemails, pleading to talk with her. He also engages with the maiden (Sarah Daniels), who appears to play a younger sister of the male figure.<\/p>\n

But on top of typical sibling rivalry comes jarring, over-the-line meanness from the brother. Why \u2014 and why is that rivalry, as well as Janie\u2019s mania, intensifying? The first little-more-than-half of the play offers up delicious, Lynchian surrealism. The audience delights in wondering, where in Strayer\u2019s dialogue, set design, and performance can we pick out new connections and answers?<\/p>\n

As Janie, with absolute terror in her eyes, continues to not return her older brother\u2019s pleading voicemails, begins to not just whine but shriek \u201cSHUT UP!\u201d at the maiden, and becomes even more erratic with her acting instructor \u2014 and as the maiden continues to fill up the bathtub one bucket at a time from a seeming subconsciousness \u2014 we begin to read into Janie\u2019s physical life her mind\u2019s interior.<\/p>\n

When the plot lynchpin finally arrives through a harrowing scene with Ophelia and the older brother, we are given a reveal: Jane\u2019s older brother assaulted her, including in a sexual manner, when she was a child. The youthful figure in the bathtub who the play\u2019s title leads us to call \u201cOphelia\u201d has been an embodiment of Jane\u2019s playful, beautiful childhood innocence.<\/p>\n

The kind of male figure Jane had around her as a child helps explain why the male romantic leads Janie requested are so foppish and sensitive.<\/p>\n

\"\"
TOP: Karina Hilleard as Edmund and Jessa Whitley-Smith as Jane; ABOVE: Sarah Daniels as Ophelia and Justin Meyer as Adam in \u2018Drowning Ophelia.\u2019 Photos by Lauren Sanfiel Armstrong.<\/figcaption><\/figure>\n

Under Dr. Lori Lind\u2019s direction, Drowning Ophelia<\/em> is a gripping, tear-inducing drama about how abuse changes how we view ourselves: how we finish the work of our abusers when we throw out the Ophelia with the bath. We associate good, beautiful parts of our lives with hurt, and then cast those \u201cselves\u201d out, to our own detriment. We drown our Ophelias at our peril.<\/p>\n

Sarah Daniels is a stunning Ophelia with a staggeringly beautiful operatic vocal talent that we get to enjoy throughout the show. Also, this specific Shakespeare Opera Theatre production has added music to the words provided in the script from the 1868 opera version of Hamlet <\/em>by Ambroise Thomas. The tune is perfectly selected for Ophelia\u2019s character: bright and pretty in the first phrase and foreboding in the second.<\/p>\n

Daniels perfectly acts the amalgam\u2019s innocence and grace, changing her idiosyncrasies only just enough and remaining in the spirit of her symbol when she plays the \u201cyounger sister.\u201d Justin Meyer perfectly embodies the \u201colder brother who went too far,\u201d obviously going far more than that at one point \u2014 he plays the character so reasonably<\/em> when he\u2019s not being utterly cruel. His performance helps us see exactly how the situation went frog-in-the-water: a crucial piece of the narrative puzzle.<\/p>\n

Jessa Whitley-Hill has a challenging role to take on. It is difficult to root for Janie for the majority of the show when her personality boils down to \u201cstressed,\u201d \u201cbusy,\u201d \u201cshort with her acting teacher,\u201d \u201caspiring performing artist or LARPer but surprisingly insulated,\u201d and \u201cignores her brother\u2019s phone calls.\u201d When we finally understand why she\u2019s troubled, we of course develop compassion, but that\u2019s only after we\u2019ve spent most of the show wondering why she\u2019s so unpleasant. Particularly to this innocent Disney Princess whose crimes are singing too much and simply reminding Janie of what happened to her.<\/p>\n

Whitley-Hill\u2019s Janie is so pointy and precarious that we find ourselves worried about her and scared of her. If we were able to develop more of an affinity and compassion for her long before the reveal, it would strengthen our foundation of compassion in preparation for the reveal. And given that the entire show revolves around Janie and her experience, a stronger connection with Janie in general would create a stronger connection between the audience and the show at large.<\/p>\n

The production\u2019s design is beautiful, with a variety of textures creating a fairytale-forest look adorning the walls. The seating arrangement is cabaret-style, and the bowls of water on each table containing decorative flower-lights add to the immersion. The Shakespeare Opera Theatre has also offered particularly extensive food and drink options for the night, specializing in comfort food that actually becomes part of the staging for a welcoming atmosphere.<\/p>\n

There could be more of a contrast between the visual design of the part of the stage portioned for Janie\u2019s apartment and life and the world of Ophelia: even just a subtle one to avoid giving away the plot early but to creatively distinguish the two worlds. Currently, there is an unintentional contrast: Ophelia\u2019s section has gritty, texture-heavy fabrics and sumptuous flowers lining the walls, and Janie\u2019s apartment has some of this but with pre-printed floral bohemian patterns galore. If the goal was to suggest that Janie relies on others\u2019 pre-printed artistry to create beauty in her busy life, that makes sense narratively, but detracts from the overall appearance of the set, particularly given that so much natural texture and actual flowers play such a prominent, beautiful role in the set but are clashed with so noticeably by others\u2019 ready-made artwork.<\/p>\n

The Shakespeare Opera Theatre website mentions that the show includes themes about \u201cmental health, trauma, and childhood abuse,\u201d but an additional warning about \u201csexual abuse\u201d or \u201csexual content\u201d specifically may be helpful.<\/p>\n

This production of this urgent new play is beautifully performed, offering a feast of storytelling for the playgoer and an emotionally harrowing story that encourages us to reflect on what beautiful, truly good parts of ourselves we may be stamping out in light of others\u2019 cruelty. It tells this sensitive story with artistry, subtlety, and grace.<\/p>\n

Running Time: Approximately 75 minutes.<\/p>\n

Drowning Ophelia <\/i><\/b><\/a>played April 4 to 12, 2025, presented by Shakespeare Opera Theatre<\/a> performing at St. Thomas Episcopal Church, 8991 Brook Rd., McLean VA. For tickets (Adults, $45\u2013$59.50; Youth 18\u201325, $35; Children under 18, $25), buy them at the door, or purchase them online. <\/strong><\/a>Friday, April 11, is Pay What You Will.<\/p>\n

The cast and creative credits are online here.<\/a><\/p>\n

COVID Safety:<\/strong> Masks optional.<\/p>\n","protected":false},"excerpt":{"rendered":"

Rachel Luann Strayer\u2019s urgent new play is beautifully performed and tells an emotionally harrowing story with artistry, subtlety, and grace. By ALEXANDRA BOWMAN<\/p>\n","protected":false},"author":19,"featured_media":366918,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[18],"tags":[409,410],"class_list":{"0":"post-366909","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-reviews","8":"tag-lori-lind","9":"tag-rachel-luann-strayer"},"acf":[],"apple_news_notices":[],"yoast_head":"\nShakespeare Opera Theatre\u2019s \u2018Drowning Ophelia\u2019 is narrative feast for the senses - 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