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ITHACA, NY -- Theatrical productions centered around mental health feel relevant — building space for actors to tell their own stories and audiences to see themselves represented on the stage. Judy Tate’s “Delia Divided,” written with the help of Civic Ensemble’s ReEntry Theatre Program, offers insight on how to navigate the controlling effects of mental illness. The play is currently running at the Hangar Theatre.

Delia — young, lonely and determined — has just started a new job at the dollar store, providing a natural sense of routine to balance out her busy mind. “Wake, act, sleep, repeat” is a line that Delia dwells on early in the show, highlighting her monotonous, exhausting tendency to let life pass her by.

In the opening scene, as Delia wakes, five supporting characters join her on the stage. They copy her mannerisms, but in distinct ways. As the play progresses, Delia begins adopting these quirks, both in how she speaks and how she composes herself. Keep an eye on the progression of knee bouncing and distressed facial expressions Delia picks up over time.

Delia assumes the most airtime, but this is supplemented by the dialogues between herself, OCD, Depression, PTSD, ADHD and Paranoia. Carley Robinson brings Delia to life with an honest and raw flair. You’ll feel the internal struggle in Robinson’s line delivery and acting choices as the story unfolds — it’s compelling.

The production, directed by Gabriella da Silva Carr, moves at a comfortable pace, with the show running about two hours and 15 minutes. Set designer Jason Simms uses space to mimic Delia’s mental state, putting the set close together when she’s overwhelmed and far apart when she’s more comfortable — as is reflected in Delia’s spaced out living space.

Delia needs companionship and reassurance, things she has lacked growing up in the foster system. Elizabeth Kitney only ever dresses Delia in orange, while the five mental illnesses wear yellow— this yellow hue is also present in Jennifer Fok’s lighting design. Delia’s fear of being a danger to society gets canceled out by the hopeful, warm presence of her disorders.

The use of rhyme, notably in the lines of Delia’s mental health personas, comes as a surprise in comparison to the natural dialogue of the rest of the play. While unexpected, the change in rhythm certainly separates Delia from herself and clearly shows the often irrational, riddling presence of mental health.

Delia may just be a young woman trying to find herself, but to the law, she’s nothing but a psychotic drug user that deserves to be behind bars — a true misunderstanding that highlights evident systematic racism. If only the police and the judges, who show up around intermission, could see inside Delia’s head. See the little girl waiting and waiting for a mother who won’t return. See the chorus of mental health disorders that plague her waking thoughts. But they hesitate to recognize this.

It’s easy to sympathize with a character whose arc toward self-discovery happens so smoothly. We watch as Delia cracks, breaks and patches herself up with the help of her mental illnesses. She may have once feared them, but it’s the patience of Uraina Bellamy’s portrayal of OCD, the composure of Amy Heffron’s PTSD, the self-regulation of Kelby Woodside’s Paranoia, the self-control of Daraisi Marte’s Depression and the joy of Emonie Raphael’s ADHD that make Delia whole again. There’s much to discover in Delia’s division.

Civic Ensemble offers an audience advisory, warning about the mature themes of suicide, child abandonment, drug use and police brutality in the play.

“Delia Divided,” by Judy Tate and the ReEntry Theatre Program, directed by Gabriella da Silva Carr. Featuring Carley Robinson. At the Hangar Theatre, 801 Taughannock Blvd., Ithaca. May 14 at 7 p.m. and May 15 at 2 p.m. Tickets at (607) 273-2787.

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