MARRIAGE, MOVIES & MISERIES
AT MINETTA LANE

Marriage may be like a garden — has to be consistently and attentively nurtured and cared for or it will wither instead of bloom and grow — but for Ben and Mira in The Disappear, nobody’s doing much watering, making this particular union look parched, prickly, and perilously past saving. Marriage . That wording is a warning needed but not heeded much by the married couple in The Disappear, written and directed by Erica Schmidt.

Written and directed by Erica Schmidt, in the smart, tart opening scene of The Disappear, which opened tonight at Greenwich Village’s Minetta Lane Theatre, we observe Ben and Mira’s communication — or lack thereof. Their book-filled country house is surrounded by rows of indistinct stalks suggesting vegetation (the design for this one-set play is by Brett J. Banakis), but their life is no idyllic Garden of Eden.

At first, their back-and-forth conversation is amusing in its petty peevishness as wife Mira (Miriam Silverman), on her way out to the market, tries to get a straight answer from film director/writer husband Ben (Hamish Linklater) about the progress on his project and an actress who’s coming for an audition. Every seemingly casual comment, minor movement, or unremarkable remark or reaction becomes a bone of contention. For example, he accuses her of minimizing something he said because he sees her rolling her eyes — and she denies doing that. And so it goes.

Mira seems to be considerate, accommodating, and patient; he seems to be impatient, difficult, and easily offended. However, there’s only so much resentment either can swallow before things start to boil over. In one of their more acrimonious moments, she makes the uncontested statement that she does all the work in taking care of household tasks and caring for their teenaged daughter so he can devote himself to co-writing dialogue for films and directing them. And we learn later that she’s also a writer (a novelist) and makes more money than he does.

Their squabbles aren’t so entertaining after a while. There’s more sparring and little sign of whatever spark, sparkle, special common joys, or sexual component their relationship once had. But as things turn more dramatic and troubling, there are still rewarding comic moments in Ms. Schmidt’s writing and sharp direction — and in the combustive chemistry between the aforementioned two actors, especially with Mr. Linklater’s eccentric behaviors as the obsessed, self-absorbed, self-satisfied “auteur.”

The plot thickens soon enough when Ben and the young, pretty (and pretty darn quirky) auditioning actress (Madeline Brewer) feel a mutual, instant attraction, and he immediately promises this somewhat promising but little-known performer a leading role — a character whose name is Mirabelle, “coincidentally” similar to the name of Ben’s wife, Mira.

However, it’s the more practical producer, Michael (Dylan Baker), who has casting approval — and doesn’t approve. They are at an impasse, so Michael may take a pass as Ben pursues his “muse” to keep her in one of his movies and in his life.

Completing the cast of this six-character play are Anna Mirodin as the daughter, and Kelvin Harrison Jr. as a charismatic and confident actor who charms Mira — putting another potential temptation in the precarious marriage that may have already outlasted its practical shelf life.

This world premiere is billed as a comedy, but it has its dramatic moments. While much of the writing, action, and reactions skillfully skewer the artistic ego and temperament, the ongoing solipsistic behavior and arguments make some characters arguably less and less sympathetic as the story continues after intermission. The problem-plagued marital garden isn’t weeded, and wedded bliss reborn may be less likely than parting — or partnering blissfully with someone else. It’s a testament to the talents involved that an audience remains engaged.

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photos by Jeremy Daniel

The Disappear
Audible’s Minetta Lane Theatre
18 Minetta Lane (between MacDougal & 6th Avenue)
2 hours and 15 minutes, including one intermission
ends on February 22, 2026 (limited engagement)
for tickets, visit AudiblexMinetta

To be recorded and released globally as an Audible Original

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