PLEASANT GROVE — Is there a right way to do an impossible thing? How do you grieve separation, death and loss? David Lindsey-Abaire’s 5-time tony winning play Rabbit Hole centers on parents grieving about a year after the death of their toddler due to a tragic accident. The 2007 Pulitzer Prize for Drama play, which sounds and – at times is – grim and heavy, was played at Creekside Theatre Fest’s opening weekend with a humanity, depth and goodness that elevated an already world class text that grapples with an all too real tragedy.
Canon Hadfield’s design in the Blackbox Theatre at The Liahona Theatre for the Community was impressive in both expansive use of a compact space as well as its attention to detail. Little elements such as a running faucet, toys and night lamps that expand upon the elements expressly stated in the script, were touches that gave the piece its very relatable space from the first visual cues. I was truly blown away by how much was able to fit in so intimate a space and the craft that went into making it more than simply functional.
The story centers on Becca Corbett and Howie Corbett played by Jeanelle Huff and Kristian Huff respectively. Becca’s grief at this stage is about moving on while Howie’s seems to be focused on keeping tangible connection to their lost son. The tension between the couple was familiar and intimate in a way that added depth to moments that so many couples experience. The strain of wanting to communicate or express differently. Being in different emotional spaces and then flipping when just when the other partner is about ready to meet. There were shared looks, missed comments, and a true strain that finds its way in the end of the play.
There’s a sequence when Howie is testing the waters of physical touch with Becca that was exceptional in this way. Kristian is patient, kind, and seems to simply be playing Howie’s character to relax his spouse. Janelle plays Becca is unsure at first and then resistant after she reads into the moment. Their conversation afterward traveled in ways that showed these two characters wanting very different things, but with a measure of arguing prowess that let the conversation flow even as it clashed. These two excelled in their united discord.
Becca’s younger sister, Izzy is played by Jenessa Ihrig who brought an irreverent and brash humor to the opening scenes and grew with maturity through the play. Ihrig at first seemed almost flippant in a way that I thought would be grating by the end of the show. It wasn’t. Ihrig had dynamic humor and an added level of complexity to the character whose own complex joy is being overshadowed by the towering grief of her family. Ihrig’s acting was complex, well motivated, and did a great deal of emotional work with a smattering of pithy jabs.
Shauna Thompson plays Nat, Becca’s overbearing mother and by and large was just that. Thompson’s portrayal of Nat was aloof and found ways to try to control the uncontrollable. She’s written to have no handle on Izzy, and a projected understanding of Becca, and Thompson delivered these well. There was a lovely moment of tenderness when Becca finally breaks down to her mother and Thompson finds a way to open Becca up to be strong and not just stubborn in vulnerability.
Henry Jeppeson played Jason Willette – the teenager who accidentally kills the Corbett’s child – in kind of quiet, nice, aw-shucks sort of way. It was the only portrayal I didn’t totally resonate with. On the one hand. Jeppeson being that kind and likeable kid makes it hard to view him as a villain in what was, unquestionably, an accident. On the other hand, it just doesn’t give much to play off of. Beyond what’s given in the script, I didn’t get a great sense of what drives Jason to connect with those he’s unintentionally harmed. A few moments that had some dynamic potential were not as strong without something more dynamic to play off of. In one instance, Jason talks about his prom making dumb teenage choices, and while Jeppeson reacts to his scene-partner’s reaction, there feels like there’s something still not connecting.
The interplay between the characters, their clear shape, and the patterns of conversational talking over one another were, universally, excellent. David Morely Walker has taken a complex and profound piece and made it feel relatable and personal in the space that it’s in. The direction used well the intimate space, helped actors develop deep relationships between characters, and kept the tempo high.
This is a piece I immediately have high recommendations for. When I saw it coming up, I wanted to review it because it’s such a rare piece to see in Utah, and Creekside has a history of taking these kinds of challenging pieces to the mat and doing great work with them. It’s nice to see plays that are celebrated for being among the best of our time. It’s nicer to see them done exceptionally well. The time for that will soon pass, with just a few performances of the show this month. This is a great show for people who are willing to face the difficult subject matter and find some beautiful humanity in it. Rabbit Hole is funny, sometimes jarring, and often poignant. The cast and creative team that made it happen at Creekside Theatre Fest has a show that is worth seeing first hand.
MORE INFO: RABBIT HOLE is currently playing with the Creekside Theatre Fest at the indoor Black Box Theatre at Liahona Theatre for the Community (2464 W. 450 S., Pleasant Grove, UT 84062). The production is part of Creekside Theatre Fest’s 2026 season. Performances began June 6, 2026, with a limited run continuing through June 19. Performances are generally held at 8:00 PM. Ticket prices are $25 for adults and $20 for Youth and Seniors with group ticketing options available. For the most up-to-date schedule, performance details, and ticketing information, visit the official Creekside Theatre Fest website: Creekside Theatre Fest.