The Waverly Gallery — a play by Oscar-winning screenwriter of Manchester by the Sea Kenneth Lonergan first produced on Broadway in 2000 — centers on a family who have run an art gallery in Greenwich Village for many years. Gladys, the widowed grandmother of this family, has begun to develop Alzheimer’s, and over the course of the play, she devolves from forgetting minor details about her grandson’s occupation to running to knock on his apartment door multiple times nightly with hallucinations and mania. The play implores us to value what we have: specifically, it asks us to be kind when it is easy, or at least easier, because when it’s hard, a needlessly unstable foundation will make the situation dramatically harder — partially from regret over inflicted hurt. The performances in this 1st Stage production enhance this, particularly that of Catherine Flye as Gladys. Even when she is overwhelmed by what’s happening to her and struggles to express it, she still acts with tremendous kindness to Daniel, her grandson, and Don, a struggling, homeless artist who walks into the gallery one day to ask Gladys for a chance to exhibit his work. He is rewarded with not only a show but a place to sleep. Through Flye’s wonderful performance, Gladys’s overflowing kindness is clear: she is bubbly, always smiling, and always eager to embrace and praise those around her, even if she has only known them for a few minutes. Catherine Flye as Gladys in ‘The Waverly Gallery.’ Photo by Teresa Castracane Photography.Catherine Flye as Gladys in ‘The Waverly Gallery.’ Photo by Teresa Castracane Photography. Lisa Hodsoll’s Ellen (Gladys’ daughter and Daniel’s mother) and Sasha Olinick’s Howard (Ellen’s husband and Daniel’s father) paint an illustrative narrative contrast to that: during the easy times, they are quick to yell and scoff at Gladys for minor annoyances. When her condition worsens and she becomes increasingly incoherent, they lack not only a foundation of love with her but also practice in having patience and showing love. In their portrayal of busy, straightforward New Yorkers, Hodsoll and Olinick play their roles wonderfully in the show’s broader narrative about the consequences of lacking empathy, particularly when it’s easy. As grandson Daniel, Ethan J. Miller excellently portrays a recent graduate who is torn between his developing realization of the importance of empathy and the model set by his parents. He is the first we see being unnecessarily cold and short with his grandmother in the easy times, and the last we see exploding at her as her condition worsens — and in his asides to the audience, he is the vehicle for the narrative of the importance of avoiding regret. Aaron Bliden’s Don, who has suffered, models this kindness: he is never short with Gladys, asking questions and helping her without grumbling. He is also one of the strongest performers in his line delivery and immersion in the role. Kathryn Kaweck’s set design work in creating the interior of a Lower West Side art gallery that later transforms into an apartment is stunning and polished. Its excellence is highlighted by the soft, emotional lighting work of Luis Garcia, which beautifully illustrates the script’s evolving emotions. Catherine Flye (Gladys), Lisa Hodsoll (Ellen), Ethan J. Miller (Daniel), Sasha Olinick (Howard), and Aaron Bliden (Don) in ‘The Waverly Gallery.’ Photo by Teresa Castracane Photography. The play’s weaker moments largely come from its writing: in moments the dialogue as written and performed is stilted. Multiple lines feel overly scripted and clunky, and in a play about the depths of human emotion, this can break audiences’ immersion. During some scenes depicting family conflict, there is sometimes too much space between lines: more interruption might be more realistic. Though the  script spends too long on exposition and explaining interpretable story elements, the play’s shining sequences come from depictions of the emotional complexity of its story: the unexpected elements of caring for an ailing relative and the real, genuine emotional impacts of it and lessons learned from cautionary tales. When these moments happen, they are brought to life with harrowing beauty. As directed by Alex Levy, this show is an arresting and heartfelt illustration of the impact of kindness and the lack thereof, bolstered by excellent performances and a heartbreaking story. I look forward to seeing more work from 1st Stage and these wonderful cast members. Running Time: Two hours with one 15-minute intermission The Waverly Gallery plays through October 6, 2024 (Thursdays at 7:30 pm, Fridays at 7:30 pm, Saturdays at 2 pm and 7:30 pm, and Sundays at 2 pm), at 1st Stage, located at 1524 Spring Hill Road, Tysons, VA. Purchase tickets ($55 for general admission, with 20 tickets for $25 and 20 tickets for $40 at each performance and options for audiences to select the price of their choosing) by calling the box office at 703-854-1856, going online, or in person before each performance. Select performances are open-captioned and/or audio-described. Open seating. The playbill for The Waverly Gallery is online here. COVID Safety: 1st Stage is now a mask-optional space with select mask-required performances offered for each show. See 1st Stage’s complete COVID Safety Information here.