Academy Award nominee Rachel McAdams stars in the Broadway premiere of MARY JANE, written by Pulitzer Prize finalist Amy Herzog (4000 Miles, the recent Tony-nominated adaptation of A Doll’s House). Captivating, affecting and compassionate, it’s the story of a single mother in an impossible family situation. Faced with seemingly insurmountable odds, Mary Jane relies on unflagging optimism and humor, along with the wisdom of the women around her who have become a makeshift family, to take on each new day. But will inner strength and newfound friendships be enough to see her through? The New York Times calls Mary Jane “the most profound of Herzog’s many fine plays.” And The New Yorker raves, “beautiful and remarkable... Herzog has made theatre that shines.” Directing is the acclaimed Anne Kauffman (The Sign in Sidney Brustein’s Window).
Under Anne Kaufmann’s straightforward direction, and aided by Brenda Abbandandolo’s simple but effective costuming, four excellent actresses -- April Matthis, Susan Pourfar, Lily Santiago, and Brenda Wehle -- handle all the supporting parts with true aplomb, creating distinct characterizations in mere minutes. (Pourfar and Wehle also appeared in the play’s 2016 Off-Broadway debut at New York Theatre Workshop.)
In the scenes set in the apartment, the four visitors tend to take focus away from Mary Jane. Each of the four actors is exemplary, but there’s too much still air on stage before each of them can establish her presence, especially in the play’s first half. Stoic is not an easy look to convey to an audience, and McAdams’ performance doesn’t really take shape until Mary Jane sets up residence in the hospital. Ultimately, McAdams gets her big theatrical moment, but much of the play’s power comes from Herzog’s scheme to withhold that moment. We expect Mary Jane to break down, explode, get pissed off long before she does. What sets her off is unexpected. It’s worth the wait.
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