The history of theater is littered with plays that either defy description or sound remarkably unappealing. (Did anyone really feel they needed to see “Oedipus?” But weren’t you glad you did!) Add to that list Jake Brasch’s “The Reservoir,” now getting its New York debut at The Atlantic Theater (in a co-production with Ensemble Studio Theatre and the Alfred P. Sloan Foundation).
Here’s the thing: “The Reservoir” is best explained as a comedy about alcoholism and Alzheimer’s disease. Sounds impossible to sit through, never mind enjoy, right? Surprise! Brasch’s honest, heartfelt (and semi-autobiographical) writing — coupled with the sublime work of some of New York’s finest actors — make this a must-see play, rather than a must-avoid one. (And that’s no matter how touchy the subject matter can be personally; you can trust me about that!)
It helps enormously that Brasch pulls no punches about just how messed-up his protagonist Josh really is. (Kudos as well to the sincere yet saucy Noah Galvin, who is basically onstage for every second of the play as the often-glib yet troubled Josh). We see him initially (for up to a half-hour depending on when you enter the theater) completely passed out, a suitcase nearby. When he finally awakens, Josh admits to us he initially has no idea where he is or how he got there, only eventually figuring out that he somehow traveled from New York (where he is a theater student at NYU) to his hometown of Denver.
While Josh, who is openly gay, briefly considers fleeing elsewhere, he decides to return to his childhood home – where he receives a less-than-warm welcome from divorced mom Patricia (an excellent Heidi Armbruster) — promises to get sober, and, above all, reconnect with his four grandparents all of whom live nearby.
Josh’s core mission, other than staying sober, quickly transforms to being a savior once he discovers all of them are suffering from the travails of aging. Patricia’s sweet-natured mom, Irene (the always-wonderful Mary Beth Peil) has completely lost her mind and spends what little sentient time she has at a nursing facility eating tomato soup and barely interacting with her grumpy but loyal husband Hank (a well-cast Peter Maloney).
Meanwhile, when he’s not “working” at a local bookstore — and aggravating kindly manager Hugo (the versatile Matthew Saldivar, who essays a couple of other roles) by spending more time reading books about aging and cognition than shelving titles — Josh is also attempting to help his 83-year-old grandfather “Shrimpy” (the irresistible Chip Zien, beaming as the soon-to-be bimah boy) prepare for his second bar mitzvah.
Still, Josh’s most significant relationship ends up being with his tough-talking, no-nonsense grandmother Beverly (the scene-stealing Caroline Aaron, who is a master of the sarcastic line delivery). As it turns out, Beverly has been “hiding” her own past indiscretions but reveals them to convince Josh to do the hard work necessary to fully turn his life around. Watching this pair bond is truly the most moving part of the piece.
Director Shelly Butler, who helmed the play’s previous productions in California, does quietly solid work, leaving Brasch’s mostly unsentimental script and her glorious cast to keep us engrossed. As if often the case at the Atlantic, the play’s designers – including set designer Takeshi Kata and costume designer Sara Ryung Clement – do what they need to without much flash, which works well here.
Comedy or not, there are moments in “The Reservoir” where your waterworks may flow. But Brasch has ultimately written a story of triumph rather than tragedy, which is something many of us could use in 2026!
