Theatre Raleigh Braves New Territory with "What We Leave Behind"

Jessica Phillips and musician Beth G. Tankersley in Theatre Raleigh's Production of What We Leave Behind

Theatre Raleigh has long since made a name for itself as a cutting-edge theatre company that is unafraid to take risks and brave new horizons. Its most recent fearless venture is a developmental or workshop production of What We Leave Behind, a new musical written by Jenny Giering and Sean Barry that focuses on their real-life experiences. This production, flawlessly directed by Paige Price, was conceived at Capital Arts Theater Guild and is now facing a live audience for the first time in Theatre Raleigh’s De Ann S. Jones Theatre.

The story opens with a brisk introduction from Jenny, portrayed by Broadway star Jessica Phillips. Jenny, viewers quickly discover, will serve as the guide for the tumultuous journey ahead. And, right upfront, she assures the audience that, though the tale is about illness and may be sad at times, it’s also sexy, funny, and hopeful. Making good on this promise, the story that unfolds is a multi-layered one. Viewers watch as Jenny battles breast cancer, silicone toxicity, and Myalgic Encephalomyelitis/Chronic Fatigue Syndrome over the span of several years. However, they also watch her juggle a poly-amorous relationship, parent her young son, and, essentially, make a solid attempt at living a full life in spite of everything that’s happening in her body.

While that might sound like a lot to juggle for one person, Jenny’s story is representative of the oft-untold reality of so many. Every day, people wake up, struggle with invisible or misunderstood illnesses, and still have to keep living, and this powerful script uncovers the strength, resilience, and physical and emotional pain that are a part of their journey.

Phillips handles this taxing role with aplomb. Though she is alone on the stage—save for a very talented and delightful musician (Beth G. Tankersley)—she effortlessly morphs into a vast array of characters. She is herself, her husband, their shared lover, and her young son, all in the course of around 85 minutes. And yet, somehow, each transition is smooth and effective, though aided only by small costume changes and minute inflections. 

Watching Phillips as she eases into one character after another is magical in a way, but, at the same time, she handles it so naturally that one could easily miss how impressive it actually is. This level of skill enables the viewers to be present in each moment and allows them to forget that they’re watching a performer at all. Instead, they’ll be fully immersed in Jenny’s journey, taking every step and breath along with her, which is exactly what the script requires. 

Speaking of the script, Giering and Barry have crafted an impressive and complex literary work, made complete by raw, emotional songs. In Jenny’s first musical number, “Alone in this Room,” the writers use startling imagery, such as describing an irregularity on a breast scan as a “halo on an angel,” coupled with scary words and confessional honesty, to portray Jenny’s shock and fear when she first realizes something has gone wrong in her body. Later in the story, they make a full-circle turn back to the angel imagery in one of the show’s most pivotal and touching moments, showcasing how well-crafted and meticulously planned the writing is. And, that’s just one example of many. There are touching songs in which Jenny’s young son tries to process his mother’s illness and songs that demonstrate the dehumanization of talking about insurance and money during a health crisis. The music runs the gamut in terms of touching on every experience and thought a person in this situation, or related to this situation, might have. In fact, the show would be complete as a song cycle, though Jenny’s monologues add increased depth and clarity.

All of this unfolds on Sonya Leigh Drum’s wide, expansive set, which, like Jenny, morphs into multiple spaces with ease. Additionally, Erin Bell amps up the intensity at all the right moments with thoughtful lighting effects. The result of all elements combined is an enveloping production that successfully performs one of theatre’s most noble objectives: to place the viewer in another’s life.

Aside from this sometimes-startling but always engaging production itself, Theatre Raleigh has incorporated other elements into the experience. On multiple nights throughout the production, including on opening night, 1ofUs will be in attendance. This organization, founded by cancer survivor Stephanie Beguelin, “provides assistance that directly impacts the lives of patients with breast and other gynecological cancers.” Adding this organization into the mix demonstrates that Theatre Raleigh is working toward another noble objective: changing and bettering lives in ways that go beyond the stage.

Additionally, the talented opening night pre-show performers, Oren and Krystin Bailey, made thoughtful song choices, including “Take On Me,” “Share Your Address,” and “Your Song,” which perfectly complemented the show and enhanced the overall experience.

Ultimately, that is what you get when you come to Theatre Raleigh—a carefully planned experience that is sure to enhance your day and, in the case of this show, that might just save your life. Don’t miss the chance to be a part of something new, different, and intriguing. The production runs through October 5th, and tickets are available here.

-Susie Potter