Everything Is Wonderful is a poignant, perceptive, and profound study of grief, forgiveness, and redemption. Chelsea Marcantel’s thoughtful and complex dialogue navigates difficult subject matter with wit, dexterity, empathy, and respect. Her work, paired with the skillful and dynamic direction of Danni Guy, forces us to slow down and reflect on our choices, to ask ourselves what it truly means to forgive and understand someone else’s pain. At its core, this wonderful play is an honest exploration into our collective flawed humanity. Everything Is Wonderful is a brilliant depiction of how everyone is wounded.
This vulnerable, cutting, and gripping play tells the tale of Jacob (Dave Wright) and Esther (Erin Gallalee), an Amish couple who, in a test of faith and forgiveness, welcome into their home Eric (Gary Bernard DiNardo), the wayward driver responsible for the death of their two sons. With Eric now living in their barn, eating at their table, and working on their farm, Jacob, Esther, and their youngest daughter, Ruth (played by Amanda Brenner), attempt to carry on. Yet, beneath the silence, it’s clear that unspoken pain, resentment, and guilt hover heavily.
The story also centers around Miri (Jess Rawls), Jacob and Esther’s eldest daughter. Upon hearing the tragic news of her brothers’ deaths, Miri returns home to the Amish community after leaving five years prior and subsequently having been excommunicated. In tackling her pain and trying to decipher what makes someone a good person, she must face the family that spurned her, the man who abused and drove her away (Abram, played by Mike Rudden), the man who killed her brothers, and the version of herself she tried to bury.
Everything Is Wonderful employs a unique, artful, and compelling plot device, overlaying scenes and jumping through time between the precarious present and the painful events of the past, which ultimately led to Miri’s separation from her family and community. The ringing of two small bells represents the passage through time hung on either side of a rustic, wood-paneled wall — the backdrop of the simple yet elegantly successful set design.
This concept could have easily caused confusion; however, due to the dynamic intellect behind Marcantel’s masterful writing, and under Guy’s direction, exalted by the stellar performances of each actor, this intricate storytelling device works effortlessly to reveal key plot points and unfold character development fluidly. The overlaying and interwoven scenes further work as a mirror to the complex reality of contrasting points of view, forcing the audience to expand our understanding and empathy while still maintaining the imperative contradictions that challenge individual beliefs.
Moreover, no matter where your eye is drawn during these overlaid scenes, you are bound to witness a riveting, raw, and grounded performance. The acting truly impressed and surpassed absolutely all expectations one typically associates with performances conducted in such a small space. All six actors successfully captivated the audience at one point or another, fully engulfing us in the intricate internal and external struggles of the complex world they inhabit and invite us to join. This rendition of this powerful play with this particular set of performers should not be overlooked or missed.
In one example, Gallalee’s portrayal of Esther, the stoic, steadfast, rule-abiding mother — the character who best depicts the reality that suppressed emotions are inevitably bound to erupt — wonderfully weaves the slow buildup to that ultimate release. Including a moving scene in which she falls to the ground and sheds silent, heart-wrenching tears after pelting eggs against the side of the barn. Each impact harder than the last, fueled by the pent-up sorrow from the loss of her sons (and daughter), the increasing turmoil over her tried and tested faith and morality forcing her to forgive the man responsible, and the deep-seated strife she still holds from her parents, which has festered into unhealthy generational trauma.
Sprinkled among the vital, delicate discomfort are endearing, lighthearted moments, particularly between Miri and Eric. They form a genuine connection that catalyzes a surprising yet rather essential friendship. Being the only two who have lived in the outside world and been exposed to the ways of the “English,” they are also the only two who truly understand the light and dark elements that exist in both worlds — Amish vs. English. Neither way of living is necessarily better than the other; no one person is better than anyone else, we are merely the culmination of our choices.
At the beginning of the play, when soft-spoken patriarch Jacob (Wright) says, “Forgiveness is a choice you only have to make once, reconciliation is a journey,” it rings true; however, throughout the play, this sentiment is challenged and ultimately disproved. Forgiveness may be a choice, but it’s not a singular choice; it’s a choice we must continue to make every second of every day. In this way, we find similarities to the journey of sobriety, which we witness Eric (DiNardo) grapple with throughout the play — one must continually choose not to drink.
Everything Is Wonderful offers a sobering look at our inherently flawed yet beautiful humanity — what makes us good people? Is it our choices? Can we choose to forgive? Can we choose to be forgiven?
Theatre on the Run, the tiny theater hidden within Arlington, Virginia, provides the perfect intimate setting to immerse yourself in this thought-provoking and beautiful story.
Running Time: Two hours and 30 minutes, including a 10-minute intermission.
Everything Is Wonderful plays through August 23, 2025 (Thursdays, Fridays, and Saturdays at 8:00 p.m.), presented by Dominion Stage, performing at Theatre on the Run, 3700 S. Four Mile Run Drive, Arlington, VA. Tickets ($30) are available for general admission and can be purchased online. The online box office closes at 4:30 pm the day of performance, but a limited number of full-price tickets may be available at the door before curtain.
Trigger Warning: Contains content that may be distressing to some audience members, including themes of death, grief, and sexual trauma.
COVID Policy: Masks are optional.
Everything Is Wonderful
by Chelsea Marcantel
CAST
Jacob: Dave Wright
Esther: Erin Gallalee
Miri: Jess Rawls
Ruth: Amanda Brenner
Abram: Mike Rudden
Eric: Gary Bernard DiNardo
PRODUCTION STAFF
Executive Producer: Jason Damaso
Producer: Lauren Markovich
Director: Danni Guy
Stage Manager: Samantha McLaugherty
Asst Stage Manager: Delaney Taff
Lighting Designer: Marty Kelly
Costume Designer: Catherine Stankewick
Hair & Makeup: Rebecca Harris
Set Design: Allison Gray-Mendes
Set Carpenter: Tony Muller
Set Painting: Allison Gray-Mendes
Props Designer: Katy Jones-Powe
Asst Props Designer: Gary Bernard DiNardo
Set Dresser: Charlie Dragonette
Dramaturge: Jenn Robinson
Intimacy Choreographer: Danni Guy
