Sheltered
Written by Cate Wiley, Directed by Liz Peterson
the cell, 338 West 23rd Street, New York, NY
January 19 - February 9
Photos by Carol Rosegg
Theatre in NYC is like life in Jurassic Park - to steal from Jeff Goldbloom and Michael Crichton - theatre will find a way. Having not been to the cell before I had no idea what to expect from its grand facade. For its current incarnation to host Sheltered, the theatre is configured as a simple white box with seating for about 50 people on two sides so the action can take place in the middle. Using the space this way forces the audience to be part of the set. We are the backdrop for one another – we are watching each other watch the play. But all that theatre requires is people watching and listening to other people. The rest we tend to pile on top, fancy lights, sets, costumes, etc. are nice, but not necessary. Thus theatre can happen anywhere at any time in any configuration.
Liz Peterson, director, is known for her work in immersive performance and is the perfect choice for this premiere production. She holds a mirror up to the world for us to see ourselves. As Cassie, Almeria Campbell, is our coryphaeus, our Virgil as it were, as we descend into Sheltered. This Greek Chorus ensemble takes us into the lives of a women’s homeless shelter. And just like on the streets, we watch ourselves watching but not seeing the homeless all around us.
Cate Wiley's script is Sorkin-esque as it delivers information about the issues homeless women in particular face while neatly weaving the plot of Sheltered around it. Each character has had a different road to being unhoused. Kim Yancy-Moore delivers a moving monologue about everything that needed to fail to put her here is one easy to imagine for yourself. How many dominoes would need to fall for any of us? Helen (Monica Steuer) has a way out of the shelters, but she's hesitant to take it. What emotional price is too high to pay for security?
As I listened to chatter in the audience pre-show, there was talk of the current administration driving us to economic destruction. (Depending on the year and location when you're reading this, I'm sure you can apply this to chatter about any administration local or federal.) Homelessness has always been a hot topic in NYC from “Where did Guliani put all of the homeless people?”, “Did COVID put more people with mental health concerns on the street?”, to the recent, horrific news about a homeless woman burned to death while sleeping on the subway. While the play reminds us of the hobo code from the Great Depression where a scuff on a mailbox may imply a hot meal may be available, it also reminds us that the housing crisis in America is not new.
The creatives involved in this production have brought their A-Game. The light design by Nic Voncent is resemblant of ubiquitous church basement fluorescent bulbs. Josh Barilla’s set design instantly made me think of all the uncomfortable furniture adaptations in public spaces to dissuade people from sleeping. And the ensemble cast is stellar. Each plays more than one role and gets their moment in the spotlight: Madelyn Chapman as the weathered volunteer who has see it all and suffer no one; Kassandra Cruz as the well intentioned, clueless woman who wants to be seen doing good; Joyah Dominique who’s office closes at 5, not 5:02; Jess Salgueiro as the volunteer searching for her mother; Claudia Thiedmann who tell us the fate of one of characters, reminding us just how fragile life is on the street.
You cannot walk out of this production and look at the world the same way.
Click HERE for tickets.
Reviewed by Nicole Jesson.
Published by Theatre Beyond Broadway on February 4th, 2025. All rights reserved.