Traditional plays aren’t always my forte. I tend to gravitate towards a bubbly musical over the typically heavy themes and topics explored in many plays. Still, when that perfect meeting of great writing meets excellent acting, there can be no denying the power of a potent play. Enter: Well, I’ll Let You Go, straight from its groundbreaking run on the stage in Brooklyn. Written by Bubba Weiler and directed by Jack Serio, this compelling drama has staging as simple as they come. Thus, it relies fully on the intimacy of its storytelling and an incredible centerpiece performance from Quincy Tyler Bernstine. Despite being narratively unbalanced, Well, I’ll Let You Go is pure theatre, charged with gasp-worthy moments and dark comedy.
As previously mentioned, the stage and set is completely barebones. There’s some sets of folding chairs, a coffee station and a fridge and a tiny table. But these elements become living, breathing things in the hands of the narrator. Played by seasoned actor Matthew Maher, this omniscient narrator knows and sees all, including the full history of the sprawling home that Maggie (Bernstine) shares with her husband, Marv. Each time a new vignette unfolds, the narrator lingers nearby to fluff out added context, character motivations, and even casserole recipes at the drop of a hat. He carts out essential items onto the stage, and at times sits next to audience members as other elements play out. The narrator has a real purpose, putting to shame other shows I have seen that utilize a narrator… just because.
With the recent passing of her husband still a fresh wound, we follow Maggie over an undisclosed amount of days as she welcomes people into her home. Most of these visits are world-building, padding out the unfortunate circumstances behind Marv’s death. The first character introduced is a young man, one which did not seem to further the plot and seemed rather out of place. The majority feel relevant, naturally weaving surprising depth into every character relationship. As funeral home manager Joanie, Constance Shulman makes the most of her brief time on stage. Her vignette is hilarious, adding an extra sparkle of humor just when it was most needed. Other clear standouts are Emily Davis as a teary-eyed, deeply emotional suburbanite and Cricket Brown as the last girl to see Marv before his heroic and deeply tragic final moments.
Here is where we arrive at the show’s most fatal flaw: it feels unfinished, particularly in the back half. With so much strong buildup, immaculate character work from Maggie, and a shocking reveal, these character pairings deserved to have some follow up. There are never more than two people onstage for a full scene that plays out—it’s always Maggie and one other, giving ample time to expand their relationships. However, there is so much room to develop this into a full two act play with intermission. Many of these interactions deserved a proper resolution, so what a shame that the dramatic implications are never fully realized. On behalf of the entire audience: we wanted more!
Still, the last ten minutes, including a tearjerking final scene, are utterly magnificent. They play up on ideas presented much earlier, and Maggie’s trauma comes full circle in a major way. Moreover, they allow Quincy Tyler Bernstine plenty of space to hammer home her difficult performance and emotions. Without the tether of Bernstine’s Maggie, the whole show would be apt to unravel. Much like Bernstine’s incredible performance, Well, I’ll Let You Go is a stunning surprise. It could use more polish and considerably more resolution for its various dangling plot threads, yet, this one is an easy recommend off the strength of its ensemble.
Well, I’ll Let You Go is now playing performances for a strict seven-week run at off Broadway at Studio Seaview. For ticketing information, please head over to the official website.
