A WELL-INTENTIONED LOOK AT MENTAL ILLNESS
Dream Big World Theatre, Inc. opened Gail Kriegel’s Cracked Open tonight at Off-Broadway’s Theatre Row, tackling the complex and often stigmatized subject of mental illness—especially in young adults. The play approaches this sensitive topic with sincerity and directness, portraying the heartbreak and helplessness that can ripple through a family when one member begins to unravel. For those with personal experiences in this realm, Cracked Open may offer catharsis and recognition, as well as a shining light on unfair accusations that are rarely expressed on stage.
Katherine Reis, Blaire DiMisa, Bart Shatto and Pamela Bob.
The production’s greatest asset is its talented cast, assembled by casting director Jamibeth Margolis, CSA. Leading the company is Katherine Reis as Matilde, a high school graduate whose erratic and increasingly dangerous behavior shocks and destabilizes her family. Reis brings intense commitment to the role, portraying Matilde’s internal storm with raw energy and conviction. Her descent at her high school graduation party is both troubling and gripping. Admirably, her performance doesn’t shy away from erratic behavior that could easily be judged unfairly.
Pamela Bob and Bart Shatto
Pamela Bob plays Matilde’s mother with anguished vulnerability, navigating the sorrow of a parent grappling with guilt, confusion, and despair. Bob has an emotionally demanding role and succeeds in making the audience feel the weight of her suffering. As Rich, Matilde’s father, Bart Shatto delivers a powerful and complex performance, unafraid to explore the less flattering aspects of a man whose coping mechanisms begin to fail. His ego-driven portrayal is stark, unsettling, and brave in its honesty.
Katherine Reis, Bart Shatto, Pamela Bob, Rubén Caballero and Blaire DiMisa
The acting ensemble, a group of eleven actors playing over thirty roles, is uniformly strong. Each performer brings nuance and distinction to their multiple parts. Joyia D. Bradley is a grounding presence in the community; Rubén Caballero is the gentle and kind Billy, and Lisa Pelikan is the well-meaning grandmother striving to keep the family afloat. Jenne Vath and Scott Harrison also shine in a range of character roles that help flesh out the world around the central family. Paul Castree plays Dad’s brother, Michael, with abandon, and Jenne Vath (Sophia & others) is a terrific character actress who doesn’t have to do much to allow her characters to shine forth. Blaire Dimisa as the younger sister, Edith, has it the hardest with the extreme turning point in the writing, almost implying that she may be next with mental illness heading her way.
Katherine Reis and Blaire DiMisa
The play unfolds over 15 scenes, set in 1995, and focuses more on the fragmentation of the family unit than on any one character’s healing journey. While this structural choice may reflect the playwright’s intent to emphasize the broader impact of mental illness, it can feel emotionally relentless and dramatically unbalanced. The character of Billy, (Caballero) a 28-year-old patient connects with Matilde and offers a welcome note of kindness and humanity. Also, the neighbors who show up to help care for Mom.
Pamela Bob and the cast
However, the writing itself could benefit from greater refinement. Kriegel, who also directs the production, is clearly passionate about her subject, but the script lends itself toward a clumsy forward development. The dialogue can feel heavy-handed, emotional, and the narrative beats often lack the surprise or subtext that might elevate the material.
Rubén Caballer, Katherine Reis, and Joyia D. Bradley
Directorially, the production might have gained from a more collaborative or visionary approach. The staging is only functional instead of inspired. The scenic design—or lack thereof—leaves much to be desired. The absence of a credited set designer in the Playbill may explain the sparse and somewhat cumbersome scene transitions, which rely heavily on furniture being moved on and off stage repeatedly. The lighting and sound design (Yang Yu and Bill Toles, respectively) provide some atmosphere but do little to elevate the tone or support the emotional arc of the piece. Costume designers AC Gottlieb and James Nguyen, on the other hand, successfully delineate the various characters through realistic wardrobe choices.
The cast
At an hour and 40 minutes, Cracked Open is an earnest but taxing experience. Its intentions are noble and its themes vital, but the journey can feel more dutiful than enlightening. Still, the commitment of the cast and the courage of the playwright to confront such a stigmatized issue deserve recognition. With further development—particularly with outside directorial guidance and dramaturgical support—this play could evolve into a more powerful vehicle for conversation and empathy around mental illness.
In its current form, Cracked Open may not fully realize its potential, but it undoubtedly opens a door to an important and necessary dialogue.
Lisa Pelikan, Pamela Bob, Bart Shatto and Paul Castree
photos by Russ Rowland
Cracked Open
Dream Big World Theatre, Inc.
Theatre Row, 410 W 42nd St
100 minutes, no intermission
Tue-Sat at 7; Sat & Sun at 2
ends on June 28, 2025
for tickets ($35-$45), visit Theatre Row or Cracked Open
Gregory Fletcher is an author, a theater professor, a playwright, director, and stage manager. His craft book on playwriting is entitled Shorts and Briefs, and publishing credits include two YA novels (Other People’s Crazy, and Other People’s Drama), 2 novellas in the series Inclusive Bedtime Stories, 2 short stories in The Night Bazaar series, and several essays. Website, Facebook, Instagram.
