URINE LUCK WITH THIS NUMBER ONE MUSICAL
Sarah Silverman’s The Bedwetter splashes onto Arena Stage’s Kreeger Theater with a gleeful irreverence that belies its emotional depth. Adapted from Silverman’s 2010 memoir, this musical—co-written with Joshua Harmon, with music by the late Adam Schlesinger—turns childhood mortification (incontinence, self-acceptance, and family dysfunction) into comedy gold. Under Anne Kauffman’s direction, the production walks the tightrope between outrageous hilarity and genuine heartache with the agility of a seasoned Catskills comic. The lyrics are co-written by Silverman with additional music and lyrics by David Yazbek.
Emerson Holt Lacayo (Abby), Elin Joy Siler (Amy), Aria Kane (Sarah), and Alina Santos (Ally)
Set in 1980s New Hampshire, The Bedwetter follows 10-year-old Sarah (a brilliantly wry Aria Kane), a pint-sized firecracker hiding an unglamorous secret—she wets the bed. Between her parents’ messy divorce, her father’s (Darren Goldstein) unapologetic womanizing, and her mother’s (Shoshana Bean) bedroom-bound depression, Sarah copes the way any burgeoning comic would: with a razor-sharp tongue and an instinct for survival.
Emerson Holt Lacayo (Abby), Alysha Umphress (Mrs. Dembo),
Elin Joy Siler (Amy), Aria Kane (Sarah), and Alina Santos (Ally)
From her first entrance, she commands attention, belting out, “I’m really, really, motherfucking excited to be here!” to a roomful of stunned classmates. When scolded for her language, she chirps, “I know—that’s an at-home word,” before launching into another full-throated declaration of enthusiasm in song. She quickly earns a place in the friend group by disarming mean-girl remarks with deadpan agreement—“I couldn’t agree more”—and winning them over with her spot-on impressions of Flatulence of the Rich and Famous. Her rainbow suspenders, a nod to Robin Williams’ Mork & Mindy, cement her as a child of the ‘80s.
Aria Kane (Sarah), Ashley Blanchet (Miss New Hampshire), and Rick Crom (Carson)
Packed with zany, surreal interludes, the show revels in its own absurdity, from a Phil Donahue Show-inspired fever dream featuring Sarah’s agoraphobic mother to an outrageously tacky commercial for her dad’s business Crazy Donny’s Factory Outlet, two sequined, tube-topped assistants. But the heart of the show lies in Sarah’s relationship with her beloved Nana (a scene-stealing Liz Larson), in a delightfully subversive touch, teaches her to mix the perfect Manhattan while delivering the evening’s most unexpectedly moving ballad, “To Me.”
Aria Kane (Sarah) and Darren Goldstein (Donald)
One of the musical’s most poignant arcs comes when Sarah’s secret is exposed, leaving her devastated. In a desperate attempt to help, her father takes her to an assembly line of dubious therapists: the blissed-out Dr. Grimm, who hypnotizes Sarah with the groovy, psychedelic number “Follow the Path,” and the hyperactive Dr. Riley, who prescribes “Xanax”—complete with a tap-dancing chorus of pill bottles.
Darren Goldstein (Donald) and Shoshana Bean (Beth Ann)
Silverman’s signature shock humor is on full display—Donald’s provocative song “In My Line of Work” skirts the edge of taste—but the show never sacrifices its emotional core for the sake of a punchline. Beneath the raunch, there’s a tender exploration of self-worth, mental health, and the desperate desire to fit in when your body refuses to cooperate.
Shoshana Bean (Beth Ann)
Kane delivers a star-making performance as young Sarah, perfectly capturing her comedic bite and underlying vulnerability. Bean is a powerhouse as Beth Ann, her haunting solo moments providing some of the show’s most affecting scenes (“There for You”, “You Can’t Fix Her”). Goldstein infuses Donald with undeniable charm, while Ashley Blanchet delights as Miss New Hampshire, an unexpected mentor figure.
Liz Larsen (Nana) and Aria Kane (Sarah)
David Korins’ set design fluidly transitions between locations, reflecting Sarah’s perspective with vibrant colors and exaggerated visuals. Lucy Mackinnon’s projections and Japhy Weideman’s lighting effects heighten the whimsical, slightly surreal atmosphere without overwhelming the storytelling.
Avery Harris (Laura), Shoshana Bean (Beth Ann), and Aria Kane (Sarah)
At once brash, awkward, and unexpectedly moving, The Bedwetter is a coming-of-age musical for those who prefer their nostalgia with an edge. It’s not for the faint of heart (or the easily offended), but those willing to embrace its gleeful irreverence will find plenty to love—just maybe hydrate strategically. At 1 hour 45 minutes with no intermission, you don’t want to be the one making a dramatic exit for the restroom.
photos by T. Charles Erickson Photography
The Bedwetter – A New Musical
Arena Stage at the Mead Center for American Theater
Kreeger Theater, 1101 Sixth Street SW in D.C.
1 hour, 45 minutes, no intermission
ends on March 16, 2025
for tickets, call 202.488.3300 or visit Arena Stage
for more shows, visit Theatre in DC
