Review Roundup: Critics Sound Off on THE BEDWETTER at Arena Stage

Sarah Silverman’s The Bedwetter – A New Musical is now on stage at Arena Stage, starring Aria Kane, Shoshana Bean, and more. What did the critics think?

Following a critically acclaimed, twice-extended Off-Broadway run at Atlantic Theater Company in 2022, The Bedwetter returns to the stage with a new book and additional music and lyrics. Directed by Tony nominee Anne Kauffman, the production is making its regional premiere through March 16, 2025, in the Kreeger Theater, kicking off the second half of Arena Stage Artistic Director Hana S. Sharif’s inaugural season. 

The Bedwetter follows ten-year-old Sarah (played by Aria Kane in her Arena Stage debut) facing a new school, her parents’ divorce, and an embarrassing secret you’ll never guess–unless you read the title. This hysterical musical features a book co-written by Silverman and Tony nominee Joshua Harmon, music by Grammy and three-time Emmy winner Adam Schlesinger, lyrics by Silverman and Schlesinger, and additional music and lyrics by Emmy, Grammy, and Tony Award winner David Yazbek.

The cast also includes Tony and Grammy nominee Shoshana Bean as her mother Beth Ann, Ashley Blanchet as Miss New Hampshire, Rick Crom as Dr. Grimm/Dr. Riley, and Darren Goldstein as Donald, all reprising their respective roles, along with Broadway favorites Tony nominee Liz Larsen as Nana and Alysha Umphress as Mrs. Dembo.

Rounding out the cast a Averrey Harris as Laura, Emerson Holt Lacayo as Abby, Alina Santos as Ally, and Elin Joy Seiler as Amy. The company also includes Gigi Beckett, Aaron Bliden, Lyla Randall, Susan Rome, and Candice Shedd-Thompson as understudies.

Let's see what the critics had to say!

Naveen Kumar, Washington Post: As a tender, sideways musical about a troubled outsider weathering suburbia in the ’80s and ’90s, could it be the next “Fun Home” or “Kimberly Akimbo”? Though it touches on resonant themes — belonging, mental health, learning to love your inner freak — “The Bedwetter” doesn’t match those predecessors in narrative or sonic complexity. Its narrow focus on Sarah’s perspective — nearly every song reflects her interior or how she’s perceived — paints a touching pint-size portrait. It’s not quite hagiography, but it’s more a lovely chamber piece on personal inheritances than a broader family symphony.

Dara Homer, BroadwayWorld: As any memory play should, The Bedwetter uses thoughtful production design to conjure an alternatingly sharp and hazy past. Anne Kauffman’s direction guides us through the landscape of Sarah’s childhood in ways that reflect the unevenness of memory. Appropriately, things don’t ever feel just right. The costumes by Kaye Voyce anchor the show in 1980s New Hampshire but later take us to more fanciful realms (one including a tap-dancing lineup of Xanax pills). The creative set (David Korins), lighting (Japhy Weideman), and video design (Lucy Mackinnon) transport us through trippy dream sequences, peppy commercials that give way to disturbing discoveries, an episode of questionable hypnosis, and drug and cartoon-induced catatonia.

Alyssa Mutterperl, MD Theatre Guide: The true star of this show is the incredible actors. While expectations are high for the Broadway caliber performers, the standouts were those under the age of 16. As young Sarah Silverman, Aria Kane is worth the price of admission alone. This young lady’s comedic and vocal talents are far beyond her years, and I cannot wait to see where her career goes. Avery Harris’ (Laura) commands the stage, portraying the perfect sassy teen, yet showcasing the emotional maturing in “I Do Not Know This Person (Reprise),” along with Lacyao, Santos, and Seiler. The young talent is unmatched. 

Barbara Papendorp, Stage and Cinema: At once brash, awkward, and unexpectedly moving, The Bedwetter is a coming-of-age musical for those who prefer their nostalgia with an edge. It’s not for the faint of heart (or the easily offended), but those willing to embrace its gleeful irreverence will find plenty to love—just maybe hydrate strategically. At 1 hour 45 minutes with no intermission, you don’t want to be the one making a dramatic exit for the restroom.

Amy Kotkin, DC Theatre Arts: The Bedwetter treats a ten-year-old’s emotional life with care and complexity. Not quite pre-teen but clearly not a little girl anymore, Sarah yearns for her more carefree days — like last year, maybe. “When I Was Nine,” sung beautifully by father and daughter, looks back to less complicated times. At its best, growing up is fraught with pitfalls. Sarah’s circumstances make it insanely challenging. Yet, with signature wit, she climbs out of a dark place, taking everyone around her on a journey of self-discovery and self-acceptance.

Jordan Wright, Zebra: Through it all, there is laughter and poignancy, gags and pratfalls, coupled with touching moments from an outstanding cast of Broadway luminaries that shines brightly both vocally and comedically. I promise you will fall in love with little Sarah, her goofy, well-intentioned, salesman father, her Manhattan-swilling grandmother, her adoring mother and her at-arm’s-length sister.

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