rivers and revelations: a review of “The Reservoir” at the Alliance Theatre

Alcoholism, Alzheimers, the death of a beloved grandparent. These topics don’t sound particularly fun. But they are incredibly real, and where there’s truth, there’s humor.

The Reservoir, written by Jake Brasch, is a finalist in the prestigious Alliance/Kendeda National Graduate Playwriting Competition. In his writer’s notes, Brasch describes The Reservoir as a love letter to theatre, unapologetically embracing theatrical elements like a Greek chorus and breaking the fourth wall. “This is a play that demands to be a play,” Brasch writes. “I’m proud of that.” The story follows Josh, a college student on medical leave for alcohol addiction. Josh, who is gay and Jewish, grapples with identity, self-control, and a debilitating anxiety that only drinking seems to hush. Back at home, he reconnects with both sets of grandparents, only to discover they’re slipping into dementia. In a desperate effort to fix himself and protect them, he becomes obsessed with the concept of building “cognitive reserve,” which he describes as “brain insurance,” a safety net against all the constant looming threats to brain function.

The Alliance, one of the most respected theatres in the Southeast and a well-known incubator for Broadway-bound productions, has assembled an outstanding and well-rounded cast. Philip Schneider, as Josh, is on stage nearly the entire show and delivers an engaging, commanding performance. He leans into the show’s theatricality, heightening the drama through soliloquies to the audience.

Actors Philip Schneider, Joyce Cohen, Rodney Lizcano, and Mark Kincaidin the Alliance Theatre’s 2024/25 Season production of The Reservoir. Photo by Greg Mooney.

If you’re expecting a naturalistic performance, you may initially be caught off guard by Schneider’s intensity. But as the show gradually reveals its classical and metatheatrical roots, the style begins to feel entirely at home. He fully inhabits the role, and by the end of the show, Josh feels like someone you know—a friend from college, a cousin, a brother. The entire cast is electric. Highlights include Lori Wilner as Josh’s sharp, reluctantly nurturing grandmother Beverly; Rodney Lizcano in a range of dynamic roles; Peter Van Wagner, whose comedic timing as the foul-mouthed Shrimpy is flawless; and Joyce Cohen, whose warm and believable Irene is a quiet anchor.

Brasch’s script is funny, powerful, and deeply engaging. Early on, we learn that the play’s title refers to Josh’s conception of his mind: a tangle of unstoppable rushing rivers leading to one massive ocean: alcohol. He envisions a symbolic reservoir as a means of redirecting those destructive impulses. The play is in many ways concerned with control. What can and can’t be controlled? We may slow dementia, but we can’t stop it. We may stop drinking, but are we truly in control, or simply channeling our addiction and neurotric tendencies into something else? Brasch tackles these questions with sharp insight and wit.

Actor Rodney Kincaid in the Alliance Theatre’s 2024/25 Season production of The Reservoir. Photo by Greg Mooney.

If there’s a critique to be made, it’s that the script occasionally leans on a recurring device: a sincere or heartfelt line followed immediately by a wry or self-aware comment. It works every time, but begins to feel just slightly predictable by the second act. Still, that’s a minor quibble. Brasch is clearly a major emerging force in contemporary playwriting. Notably, he succeeds in making Josh sympathetic without absolving him of his flaws. Josh is frequently called out by other characters, a cathartic release for the audience, who has watched his self-destruction unfold helplessly. One dreamlike sequence, in which Josh and his grandmother express their shared frustration at being unable to connect—he, a young gay man with “complicated” problems, and she, an older woman with a “simple” life—lands with poignant, emotional clarity.

The production design is equally strong. Sound, lighting, and set work together seamlessly, particularly in a striking sequence late in act one that delivers a genuine jolt to the audience. Costumes by Sara Ryung Clement feel authentic and contemporary, helping to define each character’s own little world.

I can’t imagine there is an adult in the audience of The Reservoir who hasn’t experienced some aspect of what’s on stage, and isn’t effected by it. Dementia is an unfathomably cruel disease, dulling and snuffing the light that made our loved ones feel like themselves. Anyone who has lost a parent or grandparent to it will find those scenes painfully true. One moment early in the play when Josh relives a few cherished memories with his grandmother Irene before seeing her for the first time in years is especially brutal. The lighting, staging, and performances perfectly capture how time has a way of erasing all things we love, no matter how hard we try to stop it. On a similar note, the ending of the show will leave you breathless.

Actors Philip Schneider, Peter Van Wagner, Lori Wilner, and Joyce Cohen in the Alliance Theatre’s 2024/25 Season production of The Reservoir. Photo by Greg Mooney.

In the age of AI and slick, overproduced entertainment, it’s refreshing to experience an authentic, sometimes (intentionally) messy piece of theatre, brought to life by a cast of brilliant actors of all ages. The Reservoir is a roaring success—grab your lifeboat and let the current take you.

The Reservoir runs at the Alliance Theatre from March 29 - May 4, 2025.