What I liked
If you are reading this and do not want to be spoiled, please read no further.
Rosas delivers a masterclass in emotional range. She transitions effortlessly between gut-wrenching vulnerability and razor-sharp rage, embodying a woman both broken and burning with the desire to be seen, chosen, and loved. Her performance is unflinchingly raw—her silences especially near the end often as powerful as her most feverish manic monologues. Despite being alone on stage, Rosas fills every corner of the space, commanding attention with subtle gestures, devastating expressions, and dynamic physicality. I was struck by her capacity to feel completely natural on stage before the performance even began.
Ashley Karp’s direction is taut and intuitive, allowing the script’s psychological tension to breathe while never losing momentum. The minimalist staging works in the play’s favor, focusing our gaze entirely on Rosas and the emotional journey she undertakes. Equally smart is the director’s use of prop and stage direction especially when preparing our minds for the pay off of Rosas’ potential final moments. The play is secure in itself thanks in part to direction and complete mastery of material demonstrated by both leading ladies – one on screen and one off.
What’s most striking is the play’s refusal to offer easy answers. The protagonist’s desire to be a better mother is at risk to be trampled by her own emotional volatility—her legacy of pain holding potential to repeat itself in real time. This contradiction is never neatly resolved, but instead presented as part of the uncomfortable truth the play bravely dares to tell.
What I didn't like
My personal taste would require more assurance that our Slay Me protagonist overcomes her obsession by the end and chooses life not only for herself, but for her daughter – continuing to give her the life she did not have with her own mother. I do think we get indications of this building courage in the writing with her newfound intent not to die, but a clear direction of her lifting a knife to fight or something near the end would seal the deal. Of course this is my personal desire for a happy ending. As a work of fiction, there is no right answer here when it comes to emotional impact.
I also think the reveal of her boyfriend being a murderer would be more profound if not found in the play summary ahead of time. ;)
My overall impression
In Slay Me, powerhouse director Ashley Karp and solo performer Veronica Rosas deliver a harrowing, emotionally charged exploration of trauma, identity, and obsession. At once intimate and explosive, this one-woman show grips its audience from the first line and refuses to let go.
