Small Mouth Sounds

“Small Mouth Sounds”: Things left unsaid

Bess Wohl's play about folks seeking transformation at a silent retreat draws you in but leaves a vague impression.

Quiet has always been a refuge for making sense of our lives. Whether with a short walk, a weekend in the woods, or a meditation practice, it’s sometimes easiest to find ourselves through purposeful stillness. But for some people that’s not enough. They need a lot more quiet; a week’s worth. And those are the people you’ll meet in Artists Rep’s production of Bess Wohl’s Small Mouth Sounds, which leans into the silence — though perhaps a bit too much.

Set at a nameless silent retreat, Small Mouth Sounds follows six participants as they attempt to find personal enlightenment, guided only by the ostentatious voice of an unseen guru and their own exasperated gesturing to each other. There’s not much in the way of an introduction to these characters, a few ticks and some simple costuming get across the shorthand of it: There’s a lesbian odd-couple, a swaggering yoga teacher, an anxious underdog, a religious older gentleman, and the standard stereotypical millennial white woman.

A peaceful, not-so-easy feeling: Susannah Mars (from left), Ayanna Berkshire, John San Nicolas, Michael Mendelson, Kelly Godell and Darius Pierce retreat into silence in “Small Mouth Sounds” at Artists Rep. Photo: David Kinder

The retreat environment imposes an intriguing restriction on the show: While there are moments of dialogue, much of Small Mouth Sounds does actually take place in silence. We tend to think of theater as a visual medium, but it’s easy to forget how much heavy lifting dialogue does until its stripped back. As an audience member, this is a show you have to lean into, literally, to make sure you don’t miss any subtle change in countenance or a lingering finger. And a lot happens in these silent moments. It’s a nice reminder of how meaningful touch is between humans and how much vulnerability it takes.

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