Diversion

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I come from a family of nurses, and apparently so does playwright Scott Organ whose play Diversion is set entirely in an ICU nurse’s breakroom. Organ has clearly done his homework, because he’s written an honest, intense, and yet often funny piece centering on a few days in the work life of six nurses under the pressure of a “diversion” investigation.

For those unfamiliar with the word in a medical setting, “diversion” is the delicate term given to the illegal practice of diverting drugs away from their intended use, on patients, and instead toward personal use or sale.

Diversion is a serious crime and much more commonly occurring than is widely known; the industry endeavors to find and solve such problems internally, out of the public eye, for the sake of the professional and personal reputations of the institutions and their staffs, respectively.

In this play, compassionate head nurse Bess (Thaïs Bass-Moore) calls a meeting in the ICU break room, and the nurses under her charge are on high alert. Bess announces that a very short list of staff, hers included, are under suspicion of diversion, and an outside representative, Josephine (Colleen Clinton) will be spending some time among them “gathering data” toward the investigation. Bess’ nurses include the shrewd Amy (DeAnna Lenhart), seasoned Emelia (Tricia Alexandro), a very young and very new Mandy (West Duchovny), and the only male nurse, Mike (Connor Wilson).

Bass-Moore portrays the head nurse Bess with a strong compassion for her staff; she’s weary but devoted. Subtle and understated, Alexandro’s Emelia appears distracted, but her focus is imbued with a quiet intensity that pervades her every thought and move.

Lenhart’s role as Amy is often stern and judgmental, yet her loyalty is unshakable under pressure. Wilson’s character of Mike is independent but still yearns for connection.

Duchovny plays Mandy with an almost obtuse innocence but ultimately reveals an innate wisdom with which she sees others to their core. Clinton, playing the former nurse and now an unwelcome antagonist Josephine, is astute and discerning and still aches to belong.

Each actor in this play listens keenly to each other, probing with intensity, and their vulnerability and vigorous honesty permeates their powerful performances, churning with whispers and secrets. Organ’s efficient and impactful script comes alive in the hands of these stellar players, especially under Seth Barrish’s masterful direction, who carefully orchestrates the actions, intrigue, and emotional arc of the piece to its heartbreaking but hopeful conclusion.

The singular staff breakroom set design by Edward T. Morris is well-researched and realistically appointed. Samantha Tutasi’s property design is filled with numerous objects for the actors to ground themselves with; even the simple act of changing the coffee urns across scenes with varying amounts of coffee to denote the time of day is a worthy attention to detail.

My one gentle observation of the script is that the character of Mandy occasionally has lines which make her appear more witless than a person old enough to be an educated nurse might believably be. Mandy’s youth and naivete are clear enough without lines that make her sound unrealistically unintelligent.

Audience members do not need to have any previous knowledge on the topic of addiction to feel Diversion’s wrenching earnestness and its universal messages of compassion and longing. This play reminds me why I love theater. It’s a win; don’t miss it.

Diversion (through December 21, 2025)

The Barrow Group

Studio Theater of The Barrow Group Performing Arts Center, 520 8th Avenue, 9th Floor, in Manhattan

For tickets visit https://www.barrowgroup.org/

Running time: 95 minutes without an intermission