Theatre Review:

Beth Hyland’s Riveting “Sylvia Sylvia Sylvia” at the Geffen Playhouse

On Stage With… Lady Beverly Cohn

Beth Hyland has been referred to as an up-and-coming playwright.  Well, that is not exactly accurate as her play, SYLVIA SYLVIA SYLVIA, making its world premiere on the Geffen Playhouse stage, is nothing short of brilliant, which means she’s definitely arrived!  Director Jo Bonney, armed with a superb script, cast four actors to service the work each of whom gives a superb, fully-actualized performance. 

L-R: Midori Francis and Noah Keyishian -Photo by Jeff Lorch

The action begins in 1958 in the Beacon Hill Boston small apartment of Sylvia Plath, played by Marianna Gailus, and her husband Ted Hughes, characterized by well-known Irish actor Cillian O'Sullivan.  They are playing with a Ouija Board asking such questions as “Will we be happy?” (yes) or “Will we be famous?”(yes) or “Will we have children?” No response from “the other side.”  She would very much like to be a mother but her husband is not onboard with that notion. 

L-R: Marianna Gailus and Cillian O'Sullivan-Photo by Jeff Lorch

Sylvia finds out she is being published, but it’s clear that her husband holds some jealousy, which he tries to cover.  Professing her love, she assures him that she does not wish to outshine him in any way.  With transitions covered both by Lap Chi Chu’s always spot-on light design and Lindsay Jones’ music, the action segues to the present, where new tenants now live in Sylvia and Ted’s apartment.  As it turns out, Sally (Midori Francis) and her husband Theo (Noah Keyishian) are also both writers.  She was a celebrated novelist but is in the throes of a profound writer’s block, which has her mental health teetering. 

L-R: Noah Keyishian and Midori Francis -Photo by Jeff Lorch

She received an advance and although she hasn’t written one word, she keeps reassuring her agent that she’s on it. 

Sally is depressed and jokes about suicide which her loving, patient husband doesn’t find amusing.  Before long, the script heads into the supernatural and Sylvia, as a ghost, begins to visit Sally throughout the rest of the action, which continuously shifts back and forth in space and time.  These transitions are fluid and not in the least bit confusing.  Slowly, despite her often fun, witty demeanor, we begin to understand that Sally is fragile and has had nervous breakdowns. She lost a baby in the past, no longer wants a child, and takes meds to keep her stable. 

Midori Francis in SYLVIA SYLVIA SYLVIA-Photo by Jeff Lorch

At one point, she’s in a cheerful mood, which pleases her husband.  She quips: “Can’t I be in a good mood without it becoming a medical event?”  To pull herself together in front of Theo, she often flees to the bathroom and doesn’t emerge until she feels somewhat centered again.  Adding to Sally’s frustration is the fact that her husband has been published. 

She tries to be happy for him, but it is only surface joy. Not knowing what his wife’s reaction will be, he is hesitant to share his work, but she assures him she will be fine.  On reading the material, however, she is appalled that the subject is about her and slams his laptop against the floor.  As a tribute to the exquisite writing, after this intense scene, Theo retrieves his laptop and is about to leave. 

Sally demands to know where he’s going.  “I’m going to the Apple store.”  Lest you might think the play is heavy all the time, it is not as there’s lots of laughter – especially between Sally and Theo. Meanwhile, back to Sylvia and Ted, she is having writer’s block and desperately needs a poem. Amidst all this, the phone rings, and it’s a woman asking for Ted, stoking her suspicion and insecurity.  What is most interesting about Hyland’s script, is how she deftly weaves a tapestry of the intersecting lives of two creative couples, one member of each experiencing obstacles in their writing.  Although they are living in different eras, their hopes, dreams, and frustrations are identical.  Drawing parallels between Sylvia and Sally, and the ultimate harm they inflict upon themselves, is yet another example of the universality of the human condition.  

Again, under Jo Bonney’s sharp direction, each actor gives a highly professional, believable performance.  That said, Midori Francis’ characterization of Sally is almost in a class by itself.  She delved deeply into her character mining its multi-complex layers calling for moment-to-moment mercurial transitions.  It is a tour-de-force performance and that, coupled with the other outstanding performances, should put this production at the top of your must-see theatre list.

“SYLVIA, SYLVIA, SYLVIA”

Gil Cates Theater  at Geffen Playhouse

10886 Le Conte Avenue, Los Angeles, CA 90024

Written By:  Beth Hyland

Directed By: Jo Bonney

Genre:  Dramedy 

Performance Schedule:

Monday, Tuesday: No performance

Wednesday, Thursday: 7:30 p.m.

Friday:      8:00 p.m.

Saturday: 3:00p.m. & 8:00 p.m.

 2:00 and 7:00 p.m.

Run Time: 1 hour & 40 minutes, no intermission

Closing:  March 8, 2026 

Tickets: $36-$139

Box Office:  310.208.2028

Online: www.geffenplayhouse.org.