What I liked
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What I didn't like
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My overall impression
An unforgettable, elegant, and touching show and performance. Under Elina de Santos’ deft direction, Rachel Sorsa puts on a brave and controlled performance of a mother who is filming a farewell video to her son who’d been abducted, and ever since missing, 24 years prior. Atop Sorsa’s emotional demands is the physical deterioration of a person with terminal cancer who, on this day, and at the completion of the making of the video, intends to ingest a prescribed end-of-life cocktail, the furnishings of which sit patiently, like an all knowing scythe-bearing sentinel, on a small table beside the sofa. Sorsa’s performance is outstanding, admirable for its contained rage, contained guilt, contained heartbreak, emotions which, like a bride’s delicate keepsake handkerchief, are worn from years of saline tears, threadbare from a lifetime imprisoned in the circumstance of not knowing—all stemming from a single moment’s accidental lack of attentiveness, an error of which everyone is guilty several times a day. (The average driver commits seven moving violations for every five minutes on the road.) Though she has never accepted that her son’s time might be over and maintains a thought that somehow his life might have turned out ok, she has come to grips with her own struggles and mortality, expressed via a theme of destiny and fate that’s brilliantly woven into Ian McRae’s moving one-person play, both passionate and gentle, even humorous at moments, ultimately heartbreaking. This show is a must see. – Richard Lucas, Asylum Judge
