by Macey Levin
Mary Jane is a single mother with a two and-a-half year old son, Alex, who has cerebral palsy, frequent seizures and difficulty breathing. She is the central charter In Amy Herzog’s “Mary Jane” receiving a compelling nd beautifully acted production at Catskill, New York;’s Bridge Street Theatre.
The play is a journey through optimism, doubt and bravery amid the stress of a caregiving. Mary Jane’s husband Danny is no longer in the picture. In his stead a number of women including her apartment building’s superintendent and a visiting nurse help to keep heer functioning. In order to keep functioning she tries to be hopeful, but it is an escape from the reality of her and Alex’s lives. The friends are supportive, sometimes telling her what they think she wants, or has to hear. The child needs constant care which has forced Mary Jane to take a leave from her job which she ultimately loses.
After a severe attack, Alex is rushed to the hospital where he is to remain for several weeks. While there, living at the hospital, Mary Jane meets a mother of seven children who also has a severely ill child, a Buddhist nun and the primary doctor who doesn’t commit herself to a definitive prognosis.
Mary Jane’s humanity is tested as she responds to all of Alex’s needs, but seldom gives voice to her fears. This strength inspires those around her to offer support in the face of the pain she bears. Despite the darkness of her life, there are frequent humorous observations offered by Mary Jane as she attempts to alleviate the life she is living. Yet, given all the pressures and uncertainty she admits, “I don’t know what to hope for any more.”
Amy Crossman as Mary Jane is onstage the entire play. Her performance is engrossing as she plies through myriad emotions. There are times when the audience shares her profound anxiety and sorrow, yet laughs with her in the lighter moments. Crossman is a powerful and poignant presence.
Roxanne Fay and Amy Crossman in “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
Marianne Matthews and Amy Crossman in “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
Amy Crossman in “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
Roxanne Fay and Amy Crossman in “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
Marianne Matthews and Clarissa Hernandez in “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
Marianne Matthews and Amy Crossman in “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
Amy Crossman and Renée Hewitt in “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
?? and Amy Crossman in “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
Roxanne Fay and Amy Crossman in “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
Amy Crossman and Clarissa Hernandez in “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
Set by Carmen Borgia for “Mary Jane” by Amy Herzog, directed by Zoya Kachadurian, at the Bridge Street Theatre. 
Four actresses play two roles each. Roxanne Fay is Ruthie, the apartment’s superintendent. It is an earthy performance contrasted with the gentility of Tenkei the Buddhist nun. Brianne (Renee Hewitt) is being advised by Mary Jane as she prepares for a committee hearing seeking help for her impaired child. She also plays a Jewish mother who speaks with Mary Jane about the role her faith plays in her heartbreaking situation.
One of Mary Jane’s best friends, Sherry (Marianne Matthews) is a nurse tending to Alex. Her strength and advice supports Mary Jane through some of Alex’s most fearful moments. Her portrayal of Doctor Toros is both empathetic and non-committal when discussing Alex’s future. Clarissa Hernandez’s Amelia, Sherry’s niece, doesn’t have the same capacity as her aunt when she becomes paralyzed while trying to help during one of Alex’s attacks. She is also Kat, a somewhat ditzy music therapist in the hospital who adds another layer to the care, or lack of care, that Mary Jane and Alex have come to expect.
The performances by all four women are rich and insightful. We get to know and understand them in relatively brief scenes that maintain the various tones of the story.
Zoya Kachadurian has sensitivity directed this play about a very difficult human crisis. Her cast works well together as they wend their way through many emotional scenes. Her staging is fluid and the stage pictures are simple but replete with information and mood.
Scenic designer Carmen Borgia’s several sets range from realistic to bare-bones. The transitions from the large locations to the simpler ones takes a lot of time. This tends to impede the momentum of the play. The latter part when the sets are simple pieces of furniture, the scene changes are more expeditious.
Mr. Borgia’s sound design is integral to the requirements of the various locations especially all the sounds from Alex’s room at home, i,e, an oxygen and heart monitor. John Sowle’s lighting is very effective. He lights some of the scenes dimly creating an intimacy between characters and setting a subtle dramatic tone. The costumes by Michelle Rogers tells us who the characters are the moment they appear.
In her Director’s Notes in the program Kachadurian writes:
“I decided to place the time of the play in 2017, when it was first produced. Today, Mary Jane and others in her situation would find it nearly impossible to cope with the challenges. In 2025 it is a daily event for support organizations to be defunded or shuttered, and for non-typical children to be marginalized or even ostracized, It’s more lonely and frightening.”
Bridge Street’s production is more than exceptional as it touches our hearts and minds.
Mary Jane by Amy Herzog; Director Zoya Kachadurian; Cast: Amy Crossman (Mary Jane) Roxanne Fay (Ruthie/Renkei) Marianne Matthews (Sherry/Doctor Toros) Renee Hewitt (Brianne/Chaya), Clarissa Hernandez(Amelia/Kat); Sets and sound: Carmen Borgia; Lights: John Sowle; Costumes: Michelle Rogers; Stage Manager: Hannarose Manning; Running time: 90 minutes, no intermission; May 22 – June 1, 2025: Friday and Saturday @ 7:30; Sunday @ 2:00; For tickets: bridgestreettheatre.org