Review: ‘And What of the Children?’ at Broadwater Black Box

From left: Casey Dean-Buxton and Connor Keithley in "And What of the Children?" at the Broadwater Black Box (Photo by Angel Moreno)

Writer and director Ryan Lisman’s “And What of the Children?” is a psychological drama. The play follows three siblings placed in witness protection after escaping a traumatic childhood in Alaska. More than a decade later, the fragile stability they have built begins to fracture as their past resurfaces. What unfolds is an examination of inherited trauma, identity and whether a person can truly outrun the structure of their upbringing.

The performances are solid across the board. The actors portraying siblings Scott (Thomas McNamara), Bobby (Connor Keithley) and Hannah (Casey Buxton-Dean) anchor the production with grounded, committed work. Each approaches the material with emotional sincerity, making the siblings’ shared history believable. McNamara gives Scott a steady undercurrent of tension, while Keithley and Buxton-Dean bring nuance to characters shaped by survival.

Addie (Alisha Seaton) and Nora (Sonja Inge) as The Marshalls, as well as ensemble member Asher (Jack O’Connor), also contribute effectively, helping to round out the world of the play. The entire cast’s chemistry is one of the production’s strengths. Their cohesion keeps the narrative moving, even when the script lingers.

From left: Connor Keithley and Thomas McNamara in "And What of the Children?" at the Broadwater Black Box (Photo by Angel Moreno)

Lisman’s direction is bold and intentional. The first act establishes a compelling rhythm and stakes that draw the audience in. While the second act does not sustain that same momentum, the staging remains fluid and clear.

Transitions are among the production’s most distinctive element. The ensemble’s repeated lines, including “forgive yourself,” “finish what you started,” and “I will end you,” echo through scene changes and create a psychological throughline that reinforces the characters’ internal battles. At times, tightening these transitions and trimming the overall runtime would sharpen the impact and maintain urgency.

Design elements reflect the intimacy of the Broadwater Black Box space. The set is minimal. A futon, air mattresses, tables and chairs define the environment without distraction. This simplicity keeps the focus on the performances. James Carter Montgomery’s lighting design is particularly effective, using saturated reds, blues and purples to heighten moments of emotional intensity.

From left: Julia Wilde, Stephanie Schulz, Wiley Sutton, Hunter Kelly and Max Vaupen in "And What of the Children?" at the Broadwater Black Box (Photo by Angel Moreno)

Costumes are practical and efficient. The leads shift outfits as needed, while the ensemble remains in black, reinforcing their function as both characters and psychological extensions of the siblings’ past.

Thematically, the play interrogates the long shadow of childhood trauma and the illusion of reinvention. It asks whether identity is chosen or imposed, and whether a new name and location can truly sever the influence of early experience. The premise is thought-provoking, especially in its suggestion that even with the opportunity to start over, memory and pattern remain embedded.

The audience appeared receptive at a recent performance, and despite its length, the production holds attention. It is a brave and cerebral work with clear ambition. With a more condensed structure and a final moment that lands with greater clarity, “And What of the Children?” has the potential to deliver an even more powerful and lasting impact.

“And What of the Children?” continues through March 15 at the Broadwater Black Box, 6322 Santa Monica Blvd., Los Angeles, with shows Fridays at 7:30 p.m. and Saturdays and Sundays at 3 p.m. For tickets and information, visit events.humantix.com. Run time is 2 hours and 35 minutes, including intermission.