By Brian Scott Lipton . . .
Sharing our deepest, most personal stories has become somewhat more commonplace in recent years, whether in 12-step meetings or on Internet forums, places where anonymity or secrecy are often guaranteed. To tell those secrets on an Off-Broadway stage is, pardon the pun, another story entirely. Is it an act of bravery or catharsis — or perhaps a cautionary tale.
I suspect Jessica Hendy’s often harrowing and heartbreaking Walking with Bubbles, now on view at the AMT Theater under Richard Hess’ solid direction, is all of the above. It’s also a plea for others to openly discuss their own mental health issues. (I couldn’t agree more!) And just as importantly, especially for those on the other side of the stage than Hendy, the 100-minute show is a theatrically satisfying experience that you won’t soon forget!
To Hendy’s immense credit, it certainly takes courage to let people know that the man you married eventually succumbed first to depression and then manic-depression; that you tried harder than most people would to support him for decades, even when he became homeless; and that you tried your best to maintain some semblance of family, primarily for the sake of your son (named Beckett, nicknamed Bubbles, now a teenager).
Moreover, not everyone would have abandoned a promising career on Broadway to do all this: Moving first to St. Thomas (where Beckett was born) and then to Ohio (where your family was there for much-needed support), and, eventually, giving the Big Apple one more try – as a single mother this time — unaware your dangerously unhappy now ex-husband would follow you. And not everyone would have found the courage to accept professional help in dealing with such a tricky situation or make an incredibly difficult decision that might permanently alter the status quo.
All of this comes across with no sense of self-pity, but mere honesty, thanks to Hendy’s superb skill as a writer and actress, and, especially as a singer. To be clear, however, the show is no traditional musical. It’s a monologue where some of Hendy’s thoughts are expressed in songs -– there are seven throughout the piece – which are beautifully crafted by Brianna Kothari Barnes, and which flow seamlessly in and out of Hendy’s speeches.
Indeed, I wouldn’t want to be deprived of hearing Hendy’s crystalline soprano, complete with a belt to die for; it’s a truly remarkable vocal instrument. (It’s no wonder she was chosen to play Grizabella in Cats and Diana in Next to Normal.) If this show is also, in its own way, an audition to help Hendy return to the Great White Way, I hope every major producer in New York shows up.
Admittedly, it’s true if Hendy had just spoken these thoughts instead of singing them, the show might be 15 or 20 minutes shorter. And such trimming needs to happen before the piece takes its next theatrical step. (A couple of constructive suggestions: lose the unnecessary framing device and decide more firmly on the ending – I felt like the show was over five times before it actually was.)
Still, its minor flaws should not prevent hardy theatergoers from running – not walking – to catch Walking with Bubbles in its present incarnation.
Walking with Bubbles continues at the AMT Theatre (354 West 45th Street) through June 18. Visit www.walkingwithbubbles.com for tickets and information.
