Claudia J. Arenas as Ruth, Michael Russotto as Hal, Rob Boddie as Nurse, Brigid Cleary as Barbara, and Naomi Jacobson as Fanny. Photo by Cameron Whitman.
Dystopian futures have long fueled books, film, and TV, but today they resonate more than ever as political and business leaders ignore history’s warnings, show little regard for human dignity, and dismiss urgent concerns for our planet’s future. Witnessing the potential consequences unfold up close through the interactions of four people on an intimate stage may be the most affecting and disturbing way to experience such predictions of despair. Yet, “The World to Come,” a world premiere by Ali Viterbi, leaves us with hope—a beam of light shining at the end of the world.
…leaves us with hope…artful direction of Howard Shalwitz…a chilling horror story, a passionate love story, and a profound meditation on the depth of humanity needed to survive.
The play opens in a warm, inviting community room at SeaBreeze, a Hebrew home for the aging in Southern California. The upstage windows frame a seductive view of the ocean. Every evening, four residents gather around the coffee table to play games in a casual, yet invitation-only, supper club. Playful teasing, lighthearted gossip, and heated Scrabble competition unfolds. The four obviously share a deep and growing bond. Ruth (a charming Claudia J. Arenas), the youngest of the SeaBreeze residents, is thrilled to have recently joined the club. She and the only male club member Hal (a very funny and warm performance by Michael Russotto) begin a playful flirtation.
Viterbi’s multidimensional view of life as a senior affirms that we all continue to grow, learn, and love even as we age—it ain’t over, ‘til it’s over! If this sounds like a fun sitcom, it is. Sort of. Early in Act One, a scene change unveils a brick wall sealing off the once sunny windows while a relentless multi-day rainstorm deepens the story’s growing darkness. We discover that while the residents all feel fortunate to be at SeaBreeze, none gave up their family homes by choice. In this world, everyone receives a letter at age 75 ordering their mandatory move to a senior facility “for their protection.”
Character development is a strong point for Viterbi and is served well by the artful direction of Howard Shalwitz, Artistic Director Emeritus of Woolly Mammoth. Theatrical treasure Naomi Jacobson, true to form, forcefully and fully embodies Fanny, the de facto leader of the supper club. Fanny, a holocaust survivor, sees what’s coming before anyone else and refuses to succumb to panic or despair. She is a determined problem-solver who takes decisive action. She doesn’t worry about the future because, for her, surviving means fully embracing life as it unfolds and wholeheartedly commits to the people around you. The joy, sorrow, and love in each moment should be experienced without looking forward to something more, because there may be no “more.”
Fanny’s dearest friend, Barbara (brilliantly played by Brigid Cleary), is a former nuclear physicist who is slipping into the temporal chaos of dementia. Barb still has moments of lucidity but they are sometimes broken by Cassandra-like spells during which she recites grim passages from the Book of Isaiah, vividly envisioning the full scope of environmental devastation. Cleary shifts like quicksilver through scenes as a grandmother, scientist, and newlywed with breathtaking emotional clarity. The relentless march of time and expanding scope of the apocalypse outside are revealed through a series of Nurses—messengers from the increasingly embattled world beyond SeaBreeze. Delightfully portrayed by Ro Boddie, each nurse is more unhinged than the last. Boddie also shines as Barbara’s husband in a moving flashback to their Big Sur honeymoon.
“The World to Come” is a chilling horror story, a passionate love story, and a profound meditation on the depth of humanity needed to survive. The four friends genuinely treasure and love one another. They have built a true community at SeaBreeze. As Fanny reflects late in the play “this place was my world to come.” And that, the play suggests, should be enough for us too.
Running Time: Two hours and 30 minutes including a ten-minute intermission.
Advisory: Contains strong language, mentions of racism, ageism, suicide, and the Holocaust in addition to depictions of violence, death, natural disaster, and sexual content.
“The World to Come” runs through March 1, 2026 at Woolly Mammoth Theatre Company in partnership with Theater J at 641 D St NW, Washington, DC 20004. Form ore information and to purchase tickets, call the Box Office at 202-393-3939, Monday- Friday, 11 am – 6 pm, or go online.
date: 2026-02-11 14:18:00
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