REVIEW: New Work “Touch the Moon” Cuts Deep
by Shawn Maus, League of Cincinnati Theatres
Touch the Moon is the kind of new work that reminds you why we make theater.
Cincinnati LAB Theatre’s Touch the Moon is not just a play, it’s an emotional reckoning. Written by Arianna Rose and masterfully directed by Elizabeth Harris, this new work is a slow-burn character drama that will leave you breathless. It’s loosely inspired by the Natalie Holloway case and shaped by a deeply personal experience from the playwright’s own family—and it shows in every raw, vulnerable moment.
Touch the Moon dives into the emotional aftermath of a young woman’s disappearance during a senior-trip vacation. What unfolds is a layered narrative about trauma, resilience, and the complicated relationships that stretch and snap in crisis. There’s no flashy set, no need for gimmicks, just a story with heart, hurt, and haunting humanity.
What Makes It Special
It’s the kind of play where you feel the room holding its breath. Audience members leaned forward, hung on every word, and—during the post-show talkback—asked questions that came from the gut. That’s how you know the story landed.
This is new work in action. Rose is still shaping the piece, and the audience’s voice is part of that process. Yet even in this early form, Touch the Moon is already whole. It’s rare to witness something this intimate, this grounded, and this emotionally charged on stage.
Shawn Says
This one doesn’t just touch the moon—it touches your soul. You’ll leave the theater changed. Maybe that’s the whole point. This is what new work is meant to be.
Show up, speak up, and support the future of theater while it’s still being written.
Shawn Maus is a Cincinnati-based writer, award-winning screenwriter, and communications professional with a deep passion for storytelling in all its forms. Holding an MFA in Screenwriting and a BFA in Electronic Media, Shawn brings a cinematic eye and narrative flair to his theatre reviews. As the owner of Shawn Maus Copywriting and Marketing, he manages digital content, social media, and newsletters. In his reviews for the League of Cincinnati Theatres, Shawn blends his love for theatre and classic cinema with a keen appreciation for live performance, offering readers insightful and engaging perspectives on the local theatre scene.
“ The Dating Pool [by Arianna Rose]
Director: Jasmine Ridler
Five different actors concurrently played the same character in this play, starting with the 61-year-old woman about to dive into a literal (swimming) and metaphorical (dating) pool. But then her 16-year-old self calls out “MARCO!” and giggles about some cute guy she’s dating… and going “Woah! What did I become?” over the mature woman she’ll eventually become. After that comes “23” (the woman is never referred to by name in the program, just by her ages), all ready to marry the man of her dreams, only for “61” to let her know that they’ll be separated within two years. Later comes “36”, the bisexual artist, as well as “49,” who had to make some bad life choices just to get buy… and lost someone she truly loved.
While “61” may be the oldest, she is also the most unsure, carrying regrets about her past and worries about her future. But her younger selves won’t go away, forcing “61” to reconcile with them before facing what’s to come. As the director noted in the program, “Our past selves don’t disappear; they linger on lounge chairs in the back of our minds, waiting to be heard.” (Side note: Fewer plays meant more room in the program for directors’ remarks.)
Two visual notes: A pair of actors appeared, mannequin-like, on pedestals to serve as stand-ins for the woman’s past loves, moving around every now and again to depict that boyfriend or ex-husband or girlfriend or lost love in the woman’s memory. Then there was the closing, when “61” decides she’s ready to enter the dating pool and the water; as she stands on the edge, her younger selves line up right behind her… so that when the stage went dark, the only actor the audience saw was “61” about to dive in. A very nice coda to a very nice play.” - Allison Madison, allisonmadison.wordpress.com, on CAPQ Theatre Festival in Madison, Wisconsin
“Among [Gertrude Stein’s] contributions have been the inspiration that modern writers have taken from her life, such as playwright Arianna Rose writing the “Equivalent of Sensation.” The play features Stein’s relationships with Toklas and the Cone Sisters.
Claribel and Etta Cone were also active art collectors and socialites, sharing the same social circle filled with up-and-coming artists and writers as Stein and Toklas.
The play debuted last fall in Miami and was also performed in Boca Raton. Rose is now working on adapting it into a musical, “A Collectible Sensation.”
Rose was looking through art magazines when she came across an article about the Cone sisters, which started the process of her researching for the play on and off for a decade.
“Talk about serendipity! I picked that particular magazine, with that particular project,” Rose said.
She said, as an American Jewish bisexual woman, her interest was piqued.
“Besides being a playwright and musical theater writer, I’m also a visual artist. And my mom was an artist too. So her favorite was always Picasso, I love Matisse. So reading up on all these women and what they did for modern art, I never heard of them before.”
Rose found the women ahead of their time, with Claribel Cone and Stein both attending medical school. Claribel Cone graduated while Stein dropped out.
“They were drawn to this incredible modern art and we look at it now and just you know, to us it’s no big deal. But back in the time when Matisse came out with the ‘Woman with the Hat,’ there were riots and people were scratching at the painting,” Rose said. “It was such a foreign art modality for people. So the fact that they were so forward-thinking and starting to collect this. They didn’t collect it with an eye towards selling or even having a collection in a museum. They just did it because they loved it.””
“As the four main characters examine their lives, the audience joins them on a journey of self-discovery that takes a deep look at the impact of women on art and society, all the while showcasing their strength, independence, and true defiance. It was 90 minutes filled with laughter, awe, gasps, and sheer emotion.”
“…Arianna Rose’s The Dating Pool delves into the horror of re-entering the dating scene after a long hiatus. As age 61 confronts memories of ages 16, 23, 36, and 49, we’re immersed in a Churchill-esque tableau, and captivated by her myriad dating adventures…”
“The Dating Pool cleverly brings a 61-year-old woman face to face with her younger selves, uniting them symbolically at a particular point in time. This performance is driven by a carefully written script and well-practiced lines that create a deep connection for the audience with the different versions of the main character. The script weaves together a cohesive narrative, even as the actresses visibly embody distinct physical differences. The play mainly focuses on exploring past relationships and personal growth, seamlessly blending the experiences of women from various age groups, highlighting how life’s experiences are interconnected.
I was especially impressed by Rebecca Hunt’s portrayal of the 61-year-old version of herself, which exuded the vibrant essence of Donna from “Mamma Mia.” Despite the intimate size of the Baron’s Court stage, which at times felt a bit crowded due to the largest cast of the night, Hunt as the main character skillfully kept the audience engaged throughout the performance. I can’t help but imagine that with the addition of water projections and some creative staging, this show has the potential to captivate its audience even more.
Major feeling I had: connected, eager to see more.”
“The Dating Pool
Closing out the evening, Arianna Rose’s ‘The Dating Pool’ takes the award for the most inventive script as a 61 year old woman comes face to face with her younger selves at various stages in her life. As more of her previous selves show up and join the conversation it is not only the audience who learn more about this woman’s life but also them. This multidirectional passing of knowledge makes it a unique take on the life reflection story.
There are a number of other aspects of Rose’s play which make it stand out from others in its genre, particularly the enthralling examination of ignorance at each stage of life and the need to overcome it by experience. It’s an adept script which could benefit from an expanded format as the themes being explored are only touched upon.
”
“[The Dating Pool] features a central character played by Rebecca Hunt, who together with their younger selves (Sophie Leach, Alicia Gould, Wren Perkins and Adriana Cartade) looks back on past relationships and their life thus far. Full of the knowledge of life, the group reflect on former experiences and learn from each other’s mistakes. Director Hannah Gooden has curated a really supportive atmosphere on stage between the characters, which makes this an uplifting closing act of the line-up.
Water-related sound effects and cool lighting hues add to the overall pool metaphor running through Arianna Rose’s writing… In conclusion I thoroughly enjoyed the play and found the reflective concept inspiring.
”
“The Dating Pool, by Arianna Rose, directed by Sharon Garry asks an important question: Is hindsight really 20/20? What if you could give your younger self relationship advice? In this clever, surrealistic piece, an older woman dreams that she can do just that. Jodi Freeman Maloy is superb as the older woman (61) who meets her younger selves and attempts to give them advice: Miranda Montalvo (16); Anna McCabe (23); Monica Ross (36); and Sarah Pharaon (49). Each actress epitomizes the age she portrays, and the conversations among the four younger selves is often quite droll as they are shocked by what their older selves have done. Bradley Harrington and Elissa Strell provide support as Maloy’s character trips down memory lane.”
““The Dating Pool” has the largest cast of the evening’s offerings. Jodi Freeman Maloy is 61. She is soon visited by versions of her former self: Miranda Mentalvo at 16, Anna McCabe at 23, Monica Ross at 36 and Sarah Pharaon at 49. Bradley Carrington appears as the various men in her life and Elissa Strell is Sara, another presence in this memory play. This insightful play about what we remember and distort in our lives over the years was written by Arianna Rose and directed by Sharon Garry.”
“The best performance of the night by far was by Phyllis March in “The Dating Pool.” The scene opens up with Phyllis, 61, standing at a diving board in a dark pool. She’s visited by her 16-year-old self (Ava Andrejko), then herself at 23 (Samantha Fierro), 36 (Brittany Lacey) and 49 (Tamralyn Dorsa), where present day 61 is reminded of her lost loves of each of those lovers impacted her in that moment. The scene ends with her four former selves encouraging her to take the plunge. “The Dating Pool,” written by Arianna Rose is a thoughtful piece, and full of laughs, that can relate to any age in the audience. ”
“Playwright Arianna Rose’s short plays And The Beat Goes On and Family by Numbers were performed in the last two Theatre Three festivals. This year’s entry, The Dating Pool, is a well-crafted dramedy about a widow of a certain age. She is confronted by younger versions of herself as she contemplates taking the dangerous plunge back into the dating pool. This creative play has five great roles for women of different ages, and Phyllis March, Ava Andrejko, Samantha Fierro, Brittany Lacey, and Tamralynn Dorsa all gave award-worthy performances.”
https://www.smithtownmatters.com/long-island-theater/2023/2/27/theatre-review-theatre-threes-festival-of-one-acts.html?fbclid=IwAR3YNMwch7I155agJrSSe3MAxCmHNONhc8mNk48bKmUS8ZQg9IPAQQa1faI
University of Central Missouri Dept of Theatre & Dance: link to article about Cry Now One-Act Play Festival featuring my one-act play DO OVER:
Broadway World Article about the 2023 Theatre Three One-Act Play Festival: https://www.broadwayworld.com/long-island/article/Theatre-Three-to-Present-24TH-ANNUAL-FESTIVAL-OF-ONE-ACT-PLAYS-Beginning-in-February-20230122
“The winners, runners-up and third-place finalists were decided by a panel of distinguished judges: Fred Graver (four-time Emmy winner, former writer/producer for Late Night with David Letterman, Cheers, In Living Color, and The Jon Stewart Show), dramatist, teacher and author Jeffrey Sweet; award-winning librettist and writer Cheryl L. Davis (Law & Order SVU, As The World Turns); Army veteran and playwright David A. Tucker (ACT, Seattle Repertory Theater), and Broadway playwright Jeremy Kareken.
Meyer said, “The judges were very impressed with the level of competition. The playwrights who made it to the top ten demonstrated a true command of their craft. They provided the latest proof of substantial talent in the veteran community. I think these veteran playwrights have immense potential to move the needle in the theater and bring to life stories, voices, and subject matter that is rarely seen in American theater. The third-place finalist is military daughter Arianna Rose for Sex, Lies and Styrofoam.
The judges said, “We loved the two characters and their off-handed, everyday exchange in the middle of a laundromat.” Rose will receive $500 from VetRep.”
“The Beat Goes On was written by one of my favorite playwrights, Arianna Rose. This one-act play uses personification to bring various forms of music containment to life, including L.P., cassette, 8-track, CD, and MP3. The very talented cast, including Sari Feldman, Steve Ayle, Antoine Jones, Brittany Lacey, Steven Uihlein, and Evan Teich, made this play hilarious to watch. Sari Feldman was outstanding as Cass because her dance moves and hand gestures were spot-on. The fabulous costumes by Jason Allyn made this play a standout. I loved Brittany Lacey’s shiny mini dress and sparkling silver shoes, Steven Uihlein’s light-up costume, and Steve Ayle’s 70s style rock outfit.” -Cindi Sansone-Braff, Smithtownmatters.com, https://www.smithtownmatters.com/local-news/2022/3/7/theatre-review-theatre-threes-23rd-annual-festival-of-one-ac.html?fbclid=IwAR0bmwEYBChxTh--0yqPwT_EcAqTxmT0zYJt5SyFXBcICKdpJhNRvySNRKA
“Arianna Rose’s comedy The Beat Goes On takes a peek at what goes on inside a display case at the Smithsonian, as various musical containers vie for superiority. Hilarity ensues as Cass (Sari Feldman), Trax (Steve Ayle), L.P. (Antoine Jones), Cee Dee (Brittany Lacey), and Dayta (Steven Uihlein) all hope for a transfer to the newer adjacent display case, leaving the audience in stitches.” - Heidi Sutton, TBR Newsmedia https://tbrnewsmedia.com/theater-review-theatre-threes-shining-jewel-the-annual-festival-of-one-act-plays-returns/?fbclid=IwAR2_TMDYgmdxG1BfWIe9RHPDY3vZhGVSeY4d3703vuvxbrCf3Rf4kvwoAok
“The brief “Family by Numbers” is especially clever and requires integrated movements on the part of the actors.” - Don Fowler, Johnston Sunrise http://www.johnstonsunrise.net/stories/artists-exchange-triumphs-with-one-act-play-festival,143997
“One of the best plays was Arianna Rose's tragicomedy "Family by Numbers." It begins with the father (Tom Chace) and mother (Sarah Kristiansen) reminiscing about their courtship and the birth of their three sons. The sons grow older and then tragedy strikes, leading to a powerfully haunting conclusion. Rose's script explores the nature of mortality and learning to deal with grief.” - Joe Siegel, Edge Media Network review of Artists’ Exchange’s 14th Annual One Act Play Festival, Cranston, RI, July 2019
- https://www.edgemedianetwork.com/index.php?ch=entertainment&sc=theatre&sc3=reviews&id=279016&pf=1
““Best Play: Arianna Rose’s “Family by Numbers.” This exploration of a family tragedy is originally told and heartbreaking. A man and a woman start as isolated units. They marry. Now one plus one equals two. The family grows to five — until one is subtracted. Five becomes four when their oldest son dies in a hiking accident. Rose faces the family’s pain honestly, and doesn’t paint a Pollyanna portrait. Before the son’s death, you see realistic squabbling and sibling rivalry. It makes the loss all the more painful — and the family’s ultimate reconciliation all the more true. Great performances all around with honest, stylized direction from Michele Strauss. Ren Pearson is a standout as the missing number. Featuring Ricky Bizarro, Julee Breehne, Scott Ehrenpreis, Tyler Gevas and Ren Pearson.” - Marty Fugate, YourObserver.com ”
““Family by Numbers by Arianna Rose begins with two members, Scott Ehrenpreis’ Father and Julee Breehne’s Mother, both loving toward each other and then their delightful Oldest Son, Ben Pearson. He acquires two brothers (Ricky Bizzaro’s Middle Son and Tyler Gevas’ Youngest Son), who add up to a Family of five though often minus mutual affection. Choreographing the movements of the Family is a major strength of Michele Strauss’ brisk direction. Oldest Son’s tragedy affects and changes everyone, but the Family keeps its Numbers in a creative way.” - Marie J. Kilker, totaltheatre.com”
“Family by Numbers by Arianna Rose is right before the show’s intermission, and is well placed, as you will need a moment to decompress after such an ardent and agonizing portrayal of a family devastated by loss. Steve Ayle, Linda May, Dylan Robert Poulos, Steven Uihlein, and Ryan Schaefer deliver a raw and realistic performance of a family blessed by numbers, yet also haunted by them. While there is conflict and dissent amongst some family members, and others just wish for peace, the true undercurrent of the show reveals itself, as the father (Ayle) muses, that “It’s the people who are really the treasures.” - Jessica Kennedy”
““Family by Numbers” by Arianna Rose is the heartbreaking story of a family that loses a son in a hiking accident. Beautifully written, it begins when the parents first meet, get married, raise three boys and then struggle with their tragic loss and one less number. Powerful performances all around by Steve Ayle, Linda May, Dylan Robert Poulos, Steven Uihlein and Ryan Schaefer.” - by Heidi Sutton, April 18, 2019”
FAMILY BY NUMBERS
“truly an exquisite piece of writing.” - Jeffrey Sanzel, Executive Artistic Director, Theatre Three: Broadway on Main Street, Port Jefferson, NY
“Lyrical and heartbreaking” - Jeffrey Sanzel, Executive Artistic Director, Theatre Three: Broadway on Main Street, Port Jefferson, NY
Link Magazine,
La Crosse Wisconsin
THE LOST GIRL, staged reading as part of the Viterbo New Works Festival, February 2019
http://linkmagazineonline.com/index.php/2018/12/31/viterbos-new-works-festival/
“THE LOST GIRL is a beautiful hybrid of finding who you are and discovering who you can be, which is a really beautiful statement for young artists in their lives and in all our lives. We are all on a journey of learning who are we, who we can be, and where we came from, without forgetting the importance of that” - Matthew Campbell, MFA, chair of Viterbo’s Theatre and Music Theatre Department and Artistic Director of the New Works Festival