In Erica Murray’s "The Loved Ones," the characters are those left behind, grappling with grief, abandonment, and infidelity. They are people with hidden lives and buried secrets, their expectations suddenly shattered.
The plot unfolds after the unexpected death of a beloved man who, it turns out, also had a hidden life.
Murray brilliantly constructs these revelations over the course of the two-hour play. Director Nicola Murphy-Dubey expertly paces the story, balancing tension with moments of humor as the characters navigate uncomfortable conversations with strangers.
As each character’s secrets emerge, compassion for one another deepens, and unexpected bonds begin to form.
Set in an Airbnb cottage in County Clare over the course of one long summer day, superhost Nell (Maryann Plunkett) is unexpectedly visited by Gabby (Alana Raquel Bowers), a visibly pregnant student with unclear intentions.
Maryann Plunkett and Alana Raquel Bowers in "The Loved Ones" at Irish Rep. (Carol Rosegg)
Also staying at the home is Cheryl-Ann (Donna Lynne Champlin), an American tourist on holiday, hoping to spend time birdwatching in the area.
Maryann Plunkett and Donna Lynne Champlin in "The Loved Ones" at Irish Rep. (Carol Rosegg)
The only visitor Nell expects is her daughter-in-law Orla (Clare O’Malley), who arrives to mark the six-month anniversary of her husband Robin’s death and scatter his ashes along the Cliffs of Moher. Orla is unaware of the others’ presence, having hoped to spend time alone with her mother-in-law.
Maryann Plunkett and Clare O'Malley in "The Loved Ones" at Irish Rep. (Carol Rosegg)
What makes the play special is the interplay between Murray’s intricately constructed script and Murphy-Dubey’s sensitive direction, which allows the actors to grow into a group that empathetically adjusts to upheaval in their lives. Murray crafts the plot as an emotional roller coaster, with each character’s story twisting and turning as new details emerge. Murphy-Dubey guides her cast flawlessly, and each actor delivers a powerful performance.
Nell, overwhelmed and still grieving the loss of her son, is forced to reassess whether she ever truly knew the son she cherished. We watch her struggle to accept things about him that once seemed unimaginable, while suppressing anger at the accusations surrounding him. Gabby hides her anger beneath an outwardly compassionate demeanor, choosing her words carefully until the pressure becomes too much and she explodes, lashing out: “JUST GET OUT! I want to be alone with my son.”
Gabby arrives seeking help and guidance about her pregnancy, believing Nell will be sympathetic because of their shared circumstances. Still somewhat naïve about how dramatically her life is about to change, Gabby intends to continue her studies. Nell, more practical and guided by experience, tries to prepare her for the realities ahead, explaining what motherhood will require.
Nell says: “Gabby. I don’t know what planet you’re living on, but when your baby arrives, you are going to need proper money to look after it. And you’re going to need lots of support around you from your family and friends.”
Despite her initial reluctance and doubts, Nell’s compassion ultimately prevails.
Orla, feeling betrayed and devastated upon her arrival, must confront whether her marriage was built on lies. Now that Robin is gone, she questions whether she should honor his memory by continuing IVF treatments in hopes of having the child they had planned for. Sad, raw, and quick to anger, Orla carries deep emotional wounds. O’Malley beautifully conveys the fury such a revelation would provoke, then just as powerfully reveals extraordinary compassion, setting aside her own pain to help someone else in distress.
Orla comforts with tenderness: “You won’t be on your own. I’ll be with you the whole time, okay? … Nothing bad is going to happen to you.”
Murray initially presents Cheryl-Ann as comic relief, but Champlin’s wonderful performance and character arc reveal something far deeper. Cheryl-Ann becomes a beacon of light in the darkness of the drama. She is delightful as the loud American, nerdy Harry Potter fan, and devoted birder—but she too carries a hidden life. Her past has shaped her in ways that allow her to empathize deeply with the painful situation unfolding around her.
Murray cleverly uses Cheryl-Ann to bring clarity to the emotional confusion experienced by Nell, Orla, and Gabby by the end of the day.
Cheryl-Ann shares how she survived a difficult chapter in her own life: “Birds don’t worry about their future or regret their twenties; they don’t dwell on what they don’t have or beat themselves up about a particularly problematic relationship they keep returning to. They live in the moment. It’s inspiring.”
"The Loved Ones" is a fascinating play because, over the course of two hours, each character’s hidden life is gradually revealed. Yet what lingers most is not the shock of those revelations, but a profound understanding of how deeply each character feels. There is no neat Hollywood ending, but there is genuine hope that they will be all right.
The one quality that remains constant throughout is compassion. It is never hidden, even when everything else is. And it all unfolds over the course of a single day in a cottage in West Clare.
"The Loved Ones" is playing at the Irish Repertory Theatre in New York City through August 2. More information available here.
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