Exquisite moments of vulnerability and strength exhibited on stage.
... brilliantly written script that raises many questions about gender roles in modern marriage.
In Quietness dares to get deep and ask a lot of important questions.
Anna wrote a play that is smart, specific, relaxed, and un-apologetically character driven… but on paper the theatrical quality of that writing could easily be lost in direction. Danya deftly steers the writing into a type of poetry on stage. The play is slowly paced, but rhythmic, so the audience is never bored. These two women provide voices I hope to continue to see in the world of theater.
I was extremely impressed with the script written Anna Moench. It doesn’t bash religious beliefs but instead, simply represents them leaving it up to the audience to draw their own judgments and conclusions. Various gender roles in marriage are also explored. Danya Taymor did a fine job of directing this complex piece of theater. The acting, writing and directing nicely came together in a cohesive whole. The play was interesting and the issues it raised were relevant, important, and timely.
Taymor’s cast feels like they were born to play their parts and costume designer Beth Goldenberg’s outfits are their second skin. MacCluggage is striking in red dress and heels and Alley Scott is a precious jewel in her austere teal skirt-suit, just to name a few of Goldenberg’s fine finds.
As Maxine, Kate MacCluggage has graceful complexity navigating a strained, stifled path of personal rediscovery. ... MacClaggage skillfully captures Maxine’s two worlds: one of physical longing, the other of personal faith.
Lucy DeVito... absolutely nails the character of Beth.
...the formidable manager of the Homemaking House Terri, brought to light with bustling overbearing aplomb by Alley Scott
...this dialogue is compelling, and Ms. Moench demonstrates a keen interest in human thought, behavior and relationships... It’s enough to inspire faith in her future plays.
Taymor finds vivid physical life in the compositions of knowing nods, well-timed ‘ahs,’ and smiles of solidarity; she seems fluent in the Texan Baptist body language.
Director Danya Taymor allows subtlety and differentiation in the onstage performances ... The monochromatic scenic design, created by Kristen Robinson, provides the splashes of color, dotting the emotional landscape with bright, blue mops and yellow flowers. The frame of the house draws the eyes up. There is a clear, blue sky with clouds where the lead actors can look up and dream. In this world, expressively lit by Masha Tsimring and Caitlin Smith Rapoport, the trappings of success are only a few steps away.
Kate MacCluggage, who plays Max, is absolutely riveting. You can’t take your eyes off her even when she is just listening. Her lovely, expressive face speaks volumes. The entire cast is excellent, and the set is superb—a box set that suggests a church, but works as many other locations while always keeping the church looming over everyone.
Kate MacCluggage is very powerful
Delong allows Paul to search out the spiritual unknown with a mixture of sorrow and simplicity.
Paul [is] played with a deep sincerity by Blake DeLong...
As the leader of the school of Christian housekeeping, Terri (Alley Scott) arrives with a hot entrance and delivers unlimited stage presence throughout the night.
Light designers Masha Tsimring and Caitlin Smith Rapoport along with sound designer Asa Wember are flawlessly in sync.
Alley Scott is charismatic and consistent as Terri, the head of Homemaking House. She comes across fully dedicated to her goal of helping young women prove they are ready to take on the duties of wife and homemaker is a Christian home.