Los Angeles, CA – A new play attempting to grapple with the enduring legacy of Sylvia Plath opened Thursday at the Geffen Playhouse, but initial reviews suggest the production struggles to find its footing. “Sylvia Sylvia Sylvia,” by Beth Hyland, interweaves the story of Plath and her husband, Ted Hughes, with that of a contemporary married couple, Sally and Theo, both writers, living in the same Boston apartment the literary couple once occupied.
The play’s premise, as described by critics, centers on parallels between the two couples – marital discord, competitive ambitions, and mental health challenges. Sally, played by Midori Francis, is facing a stalled book project about Plath and Hughes, a recent miscarriage, and a fraying marriage. Theo, portrayed by Noah Keyishian, has just received a major literary award and is considering a career-altering job offer. The dynamic between them, however, is described as “snappishly” grinding, with Sally’s frustrations mounting as Theo’s career ascends.
Plath’s shadow looms large, both within the play’s narrative and in literary history. More than 60 years after her 1963 suicide, Plath remains a subject of intense scrutiny and biographical interest. As Janet Malcolm noted in her writing, the fascination with Plath has spawned a multitude of biographies, which she likened to a “professional burglar” rifling through personal details as reported by the Santa Barbara Independent.
The production’s split timeline – shifting between 1958 and the present – is described as conceptually ambitious but hampered by pacing issues. Critics also point to uneven performances, with Cillian O’Sullivan’s portrayal of Ted Hughes struggling with consistency in accent and Marianna Gailus offering what one reviewer called a “Ryan Murphy version of Plath.” The staging itself undergoes shifts, including a turn towards horror imagery as Sally’s mental state deteriorates, with the set turning crimson.
Although the play attempts to capture the power dynamics present in both couples – portraying Hughes as “a patriarchal monster” and Theo as more psychologically evolved but still flawed – it ultimately falls short, according to reviews. The play’s ending, a rambling monologue delivered by Sally, is described as a “complete cop-out,” failing to resolve the complex themes it raises. The production runs at the Gil Cates Theater at the Geffen Playhouse through March 8, with tickets ranging from $45 to $139. More information is available on the Geffen Playhouse website.
