See it if You want to see a "pretty good show" This is very so so.
Don't see it if If you want anything edgy. They could have done more with it. just ok
See it if you like small dramas with GREAT sets
Don't see it if you are annoyed by overwriting. Dialogue was contrived. I don't know people who talk that way in front of others.
See it if You like contemporary drama with relevant themes and believable characters. You can"t stay uninvolved as soon as the theme is revealed !
Don't see it if You can't deal with realistic dramas about heart wrenching subjects. This is not light theatrical fare.
See it if You understand Catholicism, holiday traditions Like dramas about difficult decisions, controversial topics, family drama. Like great acting!
Don't see it if You expect edgy, modern characters who keep you on the brink of discovery. Expect an exciting new perspective on a current topic.
See it if I really can't recommend this play to anyone. It manages to offend both sides of the abortion debate - a neat trick.
Don't see it if A bunch of people sitting around talking about things that are none of their business. Preachy. Made no sense.
See it if you enjoy straight theater by seasoned performers on a lovely set that you'd like to live in. No easy answers here.
Don't see it if you have a strong opinion about abortion that you want validated. No real solutions are presented & the plot and characters feel artificial.
See it if You like unusual family dramas about difficult times.
Don't see it if You like happy stories.
See it if You're ok with a quiet somewhat clichéd if well meaning serious drama designed to begin conversation; or have conservative friends to bring.
Don't see it if You're looking for a light-hearted evening, a detailed intellectual discussion or have unshakable conservative views of social issues.
“A tired rehash of the obvious talking points, served up with a minimum of nuance...A rare dramatic staging by Martin Charnin...and he handles this awkward script awkwardly. His cast clearly needs help...At least ‘Secret Sea’ has a polished design...But this is an especially dreary evening that tips its hand far too early yet still allows its characters to express their clichés at length. If you've ever wondered what ninety minutes of hand-wringing might be like, this is the show for you.”
"More tolerance experiment than a traditional play, it asks that you confront your own beliefs and prejudices about when life begins and ends, and what it means in the interim...If it never completely succeeds, it's an admirable effort, and one of the most fearlessly serious and human plays I've ever seen. Its refusal to rely on tricks and tropes is refreshing, as is its eschewing the easy answers and tidy conclusions...I was not, however, moved in any way but intellectually, remotely. "
"Under Martin Charnin's pacey direction...The actors do their best to downplay the sense that we are watching a debate about marriage, parenthood and the bad deck of cards we're sometimes dealt...Ms. Ryan doesn't dish up a facile happy ending and the finale she has devised is eloquently heart-felt. She's also written some good dialogue. However, the top heavy plot with its too convenient details left me wondering if 'In the Secret Sea' wouldn't work better as a documentary."
"The title of Cate Ryan’s brilliant and captivating script comes from the idea that a woman’s womb is like a secret sea, and this interplays masterfully with the concepts and moral issues that are raised...The stand-out performance of the evening was provided by the father-to-be, played confidently by Adam Petherbridge...At times shocking, but always engaging, 'In the Secret Sea' will leave you mulling its thought-provoking questions long after the last curtain call."
"Cate Ryan has found a meaningfully engaging subject; her flawed but well-meaning characters and situations will move many theatregoers. You can argue with the clumsy infusions of personal tragedies each of the couples calls upon to justify their positions, or with the play’s egregiously sentimental epilogue, with its quote from Yeats's "The Stolen Child," but the core issue—for all the superficiality of its treatment—is affecting enough to keep you in your seat for the play's 80 minutes."
"Ryan has done her research, and the technical sections of the play ring with a fair amount of seeming accuracy. It is in the relationships among the five characters who populate her story that she falls short...It’s only the very real pain felt by Kenny, which young Adam Petherbridge conveys most movingly, that piques our interest...A noble attempt to dramatize a difficult subject, but there is no majesty in the telling, and it left me informed, but unmoved."