In a remarkable adaptation of the poignant 2022 memoir titled Left on Tenth, celebrated novelist and screenwriter Delia Ephron, known for her work on You’ve Got Mail, takes us on an emotional rollercoaster that intertwines the sweet and the bitter, an all-too-familiar tapestry of love rediscovered and the harsh realities of life’s unpredictability. This theatrical gem unfolds the narrative of Delia’s courageous and labyrinthine quest for companionship, reigniting her spirit in her 70s after enduring the profound ache of losing her sister Nora and her husband Jerry to the clutches of cancer.
The journey begins unexpectedly, a twist of fate manifesting through a serendipitous email exchange with Peter—a Jungian psychiatrist from the San Francisco Bay Area who, serendipitously, had once been a brief romantic interest in college—a poignant reminder of the inexorable passage of time. Just as fate intertwines their destinies, Delia faces a staggering diagnosis of acute myeloid leukemia (AML) only months after reconnecting, propelling her into a narrative rich with the complexities of love amidst life-threatening challenges.
Under the nuanced direction of five-time Tony Award winner Susan Stroman, Left on Tenth finds its pulse through the spirited performances of Julianna Margulies as Delia and Peter Gallagher as Peter, both of whom steer away from their on-screen personas to embody the vibrant energy of this stage adaptation. The production, now lighting up the stage at the James Earl Jones Theatre, beautifully marries the ebullience of romantic comedy with the stark realities of dramatic existence, crafting a narrative where love blooms anew amidst the specter of mortality.
The play opens with a clever auditory backdrop—Delia’s phone call to Verizon—a clever device that humorously sets the stage for her burgeoning tale. As the curtain lifts, the audience is thrust into Delia’s chaotic world as she struggles to reclaim her internet service, forgotten in the midst of a personal upheaval, a comedic yet symbolic introduction to her fragmented yet hopeful life.
Transitioning seamlessly through a series of heartfelt emails, comical exchanges with friends, and harrowing hospital experiences, the tapestry of Delia’s life is enriched by supporting characters brought to life by Peter Francis James and Kate MacCluggage. These portrayals are marked by remarkable versatility, their ability to oscillate through diverse characters woven into Delia’s narrative fabric.
Yet, despite the vibrancy of its opening, the production occasionally succumbs to a saccharine portrayal of love—Peter, the quintessential “perfect man”, emerges as almost too good to be true: charming, supportive, and attractively flawed only by minor idiosyncrasies. This one-dimensionality renders the emotional depth thin, creating a yearning for a broader spectrum of genuine feelings—a stark contrast to Margulies’ moment of raw vulnerability during a painful hospital scene that lays bare the torment of her journey.
The serendipitous elements persist, as even the oversized Valentine’s card presented by Peter serves as an emblematic representation of the production’s tone—occasionally teetering into the territory of overly sentimental Hallmark clichés. In the midst of this, it is Delia’s delightful dogs, Honey and Charlie, portrayed with an undeniable charm, who steal the limelight—truly a heartwarming sensation amidst the heavier themes of the narrative.
The title Left on Tenth cleverly evokes the image of Delia’s Greenwich Village home, a solitary refuge following the loss of her husband. The set design by Beowulf Boritt captures the essence of this sanctuary, skillfully transforming the stage to reflect the evolution of spaces in Delia’s life—from the warmth of her cherished library/office to the sterile confines of a hospital room—each shift artfully illuminated by thoughtful lighting designs.
In essence, Left on Tenth narrates a melancholic yet uplifting saga of love’s reemergence in the face of adversity—an earnest attempt to depict Ephron’s tumultuous dance with cancer, bereavement, and the unexpected joys found in twilight years. While the emotional layers may surface with less depth than desired, the production offers a resonant message of hope and resilience—a tale of finding love when least expected that, for many, will evoke smiles, tears, and perhaps a bit of wistfulness in the pursuit of connection.
Running Time: Approximately one hour and 40 minutes, without intermission.
Left on Tenth is set to enchant audiences through Sunday, February 2, 2025, at the James Earl Jones Theatre, 138 West 48th Street, NYC. For tickets, priced between $74-291, visit their official online platform.
