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CRITIC'S PICK

David Cromer’s flawless production of “The Sound Inside,”... When I saw its world premiere at the Williamstown Theater Festival in 2018, it was already a gripping small-scale mystery, and a spectacular showcase for its star, Mary-Louise Parker. Now, having been put through Cromer’s less-is-everything makeover, it’s even more resonant on Broadway: a tragedy about fiction, both the kind we read and the kind we live. " 

Hochman makes an impressive Broadway debut. When we first see him, he is the hothead, obnoxious student who oozes young white male privilege. He never loses that sense of license to push boundaries, but Hochman’s performance manages subtle variations on the theme of entitlement. When it is Bella’s turn to make an outrageous request, Hochman has prepared us for that reversal in their relationship.Parker exudes heartbreaking fragility on stage. She has portrayed vulnerable characters before, but she tends to wrap them in a protective shell. Due to Bella’s state of health, the usual armor is missing or has been discarded or perhaps destroyed. Bella is frail, but Parker makes sure that the character never comes off as weak

Like the sets on stage, Rapp’s story advances to us, and then recedes into its own shadows. It is both involving and repelling, and like the best ghost story Rapp and his players ensure that you’re left both unsettled long after the play is subsumed again by darkness.