Outside In Theatre never ceases to enthrall me and their latest production O: A Rhapsody in Divorce continues that magic in their most definitive work yet. Written by Jami Brandli and directed by Jessica Hanna, it is a joyous marvel that fantastically adapts the ancient Greek epic The Odyssey for the modern age and transforms it into a truly breathtaking production filled to the brim with humor, heartbreak, and awe-inspiring imagination.

Reimagining The Odyssey through a modern lens, O: A Rhapsody in Divorce follows O, a successful neurobiologist in her 40s whose world is turned upside down when her husband asks for a separation, but refuses to leave their home. Displaced and untethered, O embarks on a couch-hopping journey that blends memory, science, and surreal theatricality. She discovers unconventional and magical ways to reassemble the blown-up pieces of her life as she struggles to navigate her way back toward a “new home.”

In truth, I don’t have any major criticisms for this extraordinary play but only the highest praise. This extends across the entire board to the script, directing, every single member of the ensemble cast, scenic design/lighting/sound/costume design, casting, choreography, and so much more. Every potential concern I normally see in plays, there is none to be found here. Scene transitions dragging the pace down? None to be found here as it effectively and artistically transitions with purpose, style, and inspired tech design. 2.5 hours long? Not even noticeable. Casting that fully utilizes global majority actors in rich, significant performances from the lead to the ensemble cast? This production is a stunning showcase for all the actors involved. Honestly, if you stop reading the review at this point, I say yes freaking please and go run to see this play if you’re in the Los Angeles area. But there is a review to write so I will stop praising into the heavens about this play and come down to tell you all the details.

If you’re a fan of The Odyssey, you’re gonna love all the ways the script utilizes the scenarios and characters from the ancient Greek epic and transforms it with this modern adaptation. And if you are like me who don’t remember anything from it other than it’s about a dude who gets lost and meets a lot of crazy mythological creatures and events, you will still find plenty to enjoy. But the greatest thing is how such an epic can seamlessly be adapted into a story about a brilliant career-driven woman going through a divorce and be done so in such a way that it’s completely fresh, relevant, absurdly funny, but also searingly heartbreaking.

The script and its fine directing by Jessica Hanna do so much of the heavy lifting but it is Tania Verafield who is transcendent as the titular O and takes an already astounding script to new heights. Accompanying her is an ensemble cast so dynamic and tremendous in their own way that all the characters that Donna Simone Johnson as Woman, Andrew Brian Carter as Man, Rose Portillo as Older Woman, and Alexandra Lee as Young Woman play are performed in such a fully realized manner that any one of them could be taken out for a tour for they are that wonderfully fascinating. There have been many solid ensemble casts I’ve seen this year but this one completely blew me away.

Completing the vivid world is the production team that adds the finishing magical touch. You have Brandon Baruch as lighting designer, Yelena Babinskaya as associate lighting designer, Sibyl Wickersheimer and Maureen Weiss of Scene Shift as scenic designers, Amelia Anello as sound designer, Ann Closs-Farley and Danae McQueen as costume designers, Nicole Bernardini as prop designer, Zoe Lesser as choreographer, Celina Lee Surniak as intimacy coordinator, Ariana Michel as stage manager, David Hermosillo as assistant stage manager, Victoria Hoffman as casting director. Michelle Henzelova as graphic designer, Jiahui Ji as assistant director, and Cece Tio as producer. I don’t often rattle out the entire creative team by name for a play but for one this exemplary, it feels necessary as it takes an entire village to create this indelible effect that is so immensely difficult to conjure.

I could say more about this play but I don’t want to ruin the surprises that I experienced with such joy and giddiness. I CAN say that there is a monologue and a dance number that had such a jaw-dropping effect, which coincidentally the last time that I experienced such a sensation was the last play I watched directed by Jessica Hanna, Hungry Ghost. It’s the kind of theatre that makes you love theatre all over again because you simply forget you’re watching a play and it’s the kind of play that is not defined by ethnicity but it is all the more enhanced with so many global majority artists taking center stage. O: A Rhapsody in Divorce runs May 17 through June 9, 2026 at Outside In Theatre, located at 5317 York Blvd, Los Angeles, CA 90042. Regular performances take place Saturdays, Mondays, and Tuesdays at 8:00 PM, and Sundays at 3:00 PM. There is no performance on Monday, May 25 in observance of Memorial Day. Tickets can be bought here.