Rawshock

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Rawshock is a powerful, insightful, compelling play that lays bare the craven manipulation of corporate healthcare in the name of profits. It is beautifully written by Rita Lewis and superbly directed by Ken Wolf, who also did the lighting and sound design. It is a story about a group of patients in a psychiatric hospital setting and what happens to them when the new corporate owners of the hospital disrupt their therapeutic group. It is a gem of a show with outstanding performances that should not be missed by anyone who enjoys solid dramatic theater.

The opening scene introduces Liz, solidly embodied by Camber Carpenter. She is the therapist leading a group composed of in-patients and outpatients. She has just returned from a two-week vacation, and while rushing to get to her group meeting room, she encounters a stranger in the hall. He introduces himself as Dr. Sam Rosen (David Silberger), the new head of psychiatry. It is the moment when Liz discovers that the rumors she heard before her vacation are true. This brief meeting sets the dynamics of the clash between the old and new hospital administrations. It will develop into profits before care.

The ensemble that plays the patients is outstanding. They fully embody their characters and give several emotionally compelling performances. The set is simple but effective, with two curtains offset from each other to define the walls of the group meeting room and a hallway in the hospital. A window on the audience stage right wall is a detail affecting one of the characters. All the other elements, costumes, lighting, and sound, are done effectively.

Dana is the first patient to enter. She is wearing headphones and dancing as she places a drawing pad on an easel on a high table at the side of the stage. She is loud, direct, and protective of others in the group. She is in the hospital because she hears voices and sometimes screams uncontrollably, but she is okay when she is on her meds. Jennifer Pierro is so in tune with the character that watching her feels like eavesdropping on a real patient.

Tina is a young woman who was traumatized by the years she spent in foster care. She is now an outpatient, having learned to deal with the overwhelming anxiety she has in social situations. She retreated into herself but her experience in the group has brought her to the verge of getting a job. Chelsea Clark gives a beautifully integrated performance of Tina, fully realizing the moments of anxiety and calm.

Nathan Cusson is solid in his characterization of Alex, a young man who is an outpatient and has an explosive temper that can be triggered if he feels pressured or thinks one of his friends is being disrespected or threatened. This characteristic is powerfully exposed when a clash happens between him and an in-patient in the group.

Richard is an in-patient who hides his thoughts and feelings from the group. He is there but not really a group member in terms of sharing his emotional side. He was a male prostitute with a business degree who grew up with a seriously abusive father. Christian Libonati gives an emotionally powerful, heart-breaking, tour de force performance, the impact of which is not fully realized until the end of the play.

One of the most powerful scenes takes place between Alex and Richard. When Richard begins to reveal himself to the group, Alex becomes agitated with how Richard interacts with other group members. Alex makes some intemperate remarks that Richard verbally challenges, and Alex explodes. The exchanges leading up to Alex’s extreme reaction and the following discussion reveal the deep emotional wounds that each of these men carries. They also show how effective the whole group is in processing each other’s emotional struggles. It is a wonderful piece of theater.

The final member of the group is Katherine. She is a 74-year-old grandmotherly-type woman who comes from a rich family. She has been in the hospital for many years. Her family rarely visits her, but they are major benefactors to the hospital. Her reactions to people run the gamut from anger to sweetness. She sees the group as her children, whom she deeply respects and cares about. Theresa Della Valle’s performance adds to the powerhouse that this ensemble represents. She is totally believable as the grandmotherly member of the group. From the moment she enters the stage and speaks her first lines, there is no doubt that it is not an actor playing a role but a real person.

Each scene with the group provides a deeper understanding of each character’s story, making the audience a part of the group. The group scenes are interspersed with encounters between Liz and Dr. Sam Rosen. From the first moment Silberger presents a stiff, somewhat officious person through each encounter with Liz, the character softens, becoming more engaged in what the group is all about and how effective it seems to be. These encounters between Liz and Sam reveal the increasing pressure the corporation is putting on the hospital’s operations. Liz is concerned about the survival of her group, as Sam tries to convince her that he is making every effort to support her work.

A situation develops within the group when Tina must prepare for a job interview. Her battles with anxiety nearly overwhelm her when Richard steps in to help her build a resume. Liz decides that a practice interview will help Tina deal with the anxiety, so she asks Sam if he will help by playing the part of the interviewer. He agrees, and what transpires is a watershed moment for Sam as he gains a clear understanding of what a good therapeutic setting the group provides. As is discovered near the end of the play, Sam becomes an ally of Liz and the group, but to no avail, as the corporation breaks up the group.

Lewis does a masterful job of showing the impact of that corporate decision on the group’s lives. It reveals that Sam made strong efforts not to let the breakup happen. When a tragedy occurs to one of the group members, Sam becomes determined to make things right by getting the corporation to put the group back together. The time from the group’s breakup to the closing moments is a solidly written coda to a wonderful play.

Rawshock (through November 3, 2024)

Manhattan Repertory Theatre

Chain Theatre, 312 West 36^th Street in Manhattan.

For tickets, visit https://www.manhattanrep.com/get-tickets-to-rawshock

Running time: 90 minutes without an intermission