Matilde/Tilde (Katherine Reis) is an honor student – healthy, popular, pretty, and active. Named for the earworm song from Beetlejuice, she writes good poetry, prefers loud, heavy metal music, and doesn’t know how to do her own laundry. Nothing out of the ordinary. Little sister Edith (Blaire DiMisa) adores her so much, she’s written a school paper declaring Tilde her best friend.
Mom/Mae (Pamela Bob) is a frustrated interior designer, Dad/Richard (Bart Shatto) a television journalist. Richard’s brother Michael (Paul Castree) who lives with them, acts as his sibling’s camera man. We infer he’s tried a number of professions. Grandmother Lillian (Lisa Pelikan), a widow, is close. The family is loving and proud. They might be your friends or neighbors.
Lisa Pelikan (Lillian), Scott Harrison (Rabbi Hill), Pamela Bob (Mae), Bart Shatto (Richard), Paul Castree (Michael), Blaire DiMisa (Edith)
Tilde’s high school graduation party is about to begin when the honoree storms in hysterical and extremely violent. The Gordons are blindsided. This is the moment every family wonders were there signs? Tilde had tantrums as a child. Her last poem stated “There is no God/There is no gravity…” Were these indications? Richard uses his mother-in-law’s health as an explanation to guests.
Sudden onset of the results of chemical imbalance is apparently not unusual and often erupts during teenage years when hormones change. According to the CDC, 9.4% of children and adolescents currently have an anxiety disorder. Suicide is the second leading cause of death among individuals aged 10-14 and 25-34. There are common, identifiable provocations. Without minimizing the importance of these, Tilde’s illness is more severe.
The Gordons speak with mental health practitioners.
We see the Gordons surrounded by doctors, each offering a different diagnosis, prescribing different drugs. An “expert” among them is the play’s only unbelievable character – he’s an idiot and would not be dramatically missed. Confusion is palpable. The play takes place in 1995. There’s some validity in lack of group consensus on issues of mental health.
Even after a month of Tilde’s incarceration, Mae’s reaction is denial. She expects her daughter home dealing with college admissions. Acceptance of the seriousness of the situation provokes self blame. Were she and Richard somehow responsible? Tilde’s mom falls apart as does her home. Edith chooses to move in with Lillian.
Katherine Reis (Tilde), Bart Shatto (Richard), Blaire DiMisa (Edith), Pamela Bob (Mae)
Richard’s reaction couldn’t be more dissimilar. His paramount concern is that no one find out. Afraid of stigma and possibly losing a public job, he goes so far as to cancel the health insurance that would’ve borne the better part of enormous expense incurred were Tilde transferred to a private hospital.
Mae is horrified – as is the audience. Intake of breath is audible. We’ve all read stories about grave inadequacies of public care. She turns to group therapy, allowing us to hear assorted parental experiences. While this is illuminating, it could successfully be edited.
Pamela Bob (Mae), Bart Shatto (Richard)
The play takes us through Tilde’s treatment, including making a friend of another patient (Rubén Caballero as Billy) and near escape of a volatile and dangerous situation at the public facility to which she’s shunted. The bright young woman articulates her condition well. Most behavior and attitudes shift with progress/hope.
Cracked Open is stirring and informative, and well researched, if just a bit long. Characters and relationships are credible. A little more time with Tilde would weigh in better with related changes occurring outside hospital.
Rubén Caballero (Billy), Katherine Reis (Tilde), Joyia D. Bradley (here, a healthcare worker)
As Director, Gail Kriegel manages distinctive expression without going inappropriately overboard. Physical acting is deftly manifest. Pacing is adroit.
All actors but the leads play multiple roles.
Ancillary characters include a sympathetic Rabbi (Scott Harrison) from the Gordon’s nextdoor Synagogue (Mae was born Jewish) and local café owner Wilhelmina (Joyia D. Bradley) who early on is kind to a young woman (Madeline Grace Jones) from a local halfway house. Both add context, though the Rabbi ‘s inclusion could be accomplished with dialogue.
The cast is generally solid. Standouts include Katherine Reis, Blaire DiMisa, Joyia D. Bradley, and Rubén Caballero. The latter two actors offer particularly nuanced portrayals.
Costumes (James Nguyen+AC Gottlieb) looked as if characters walked in off the street, i.e. very much themselves. Sound (Bill Toles) is directional and pristine. Fight Director Judi Lewis Ockler did excellent work.
The piece is divided into three chapters each with numbered scenes called out by an insert in the program. As this is only relevant reading and/or analyzing the play, it’s superfluous. Don’t feel you must try to keep it handy.
Photos by Russ Rowland
Top: Katherine Reis and Blaire DiMisa
May is Mental Awareness Month. This is not a minor problem.
The Center for Youth Mental Health
Cracked Open
Written and Directed by Gail Kriegel
Theatre Row
410 West 42nd Street
