What I liked
Director Katie Oliver brings subtle mastery to Sweet Air, transforming a bare black box into a living, breathing world. Her gift lies in seeing beyond the surface—guiding actors toward powerful, grounded choices while creating space for genuine connection. This is direction at its most intimate and artful.
What I didn't like
If the play has one shortcoming, it’s only that it ends too soon. Just as we’re fully invested in these two travelers, the clock runs out. One hopes a future iteration gives this lovely connection room to breathe.
My overall impression
Sweet Air is a gentle triumph—an hour-long ode to the strange, electric tenderness of human connection. On a quiet subway platform, two strangers meet, and what unfolds is funny, awkward, honest, and quietly profound.
Matt Morillo’s writing is crisp and revealing, never forced. Katie Oliver’s direction is a standout—she transforms the black box into a vivid, suspended world, guiding her actors with precision and heart. There’s nothing showy here, just masterful restraint and deep trust in the story.
Newton Mayenge and Jenni Chiramonte deliver pitch-perfect performances, filled with nuance, rhythm, and undeniable chemistry.
In a sea of noise, Sweet Air is a breath worth taking.
