By Liz Eichler
During the curtain speech for One Off Productions’ The Sunset Limited, director and co-founder Rupert Spraul explains the company’s mission: to produce plays that are different, rarely staged, yet works which move him. Much like last season’s Pyromaniacs, this production won’t appeal to everyone, as it is a conversation about the existence of God. Over the course of a gripping 90-minute debate, audiences hear compelling arguments from both sides, delivered by two exceptional performers.
Written by Cormac McCarthy, the Pulitzer Prize-winning novelist and playwright known for exploring American myths and morality, The Sunset Limited premiered in 2006. Set in New York City—though it could easily be any major city—the play begins moments after Mr. Black prevents Mr. White from stepping in front of the fast moving train.
Compelling Performances
Sylvester Little, Jr. is extraordinary as Black. He imbues every raised eyebrow, carefully measured pause and subtle gesture with meaning, creating a man whose faith is absolute and whose conviction never wavers. He is a man with a past. At his lowest point, he heard God speak to him and now walks with Him every day. Without hesitation, Black knows he must save this stranger. As the conversation unfolds, even the veins standing out on his neck and forehead reveal the effort it takes to remain patient, compassionate and steadfast in the face of relentless resistance.
Michael G. Bath is effective as White, a man consumed by his own despair and determined to complete the mission Black interrupted. Fleeting moments hint that companionship and kindness might break through his isolation. Yet White’s pompous intellect and belief that he stands apart from everyone else keep genuine connection at arm’s length. As someone who recently left academia, I found his attitude uncomfortably familiar. This is where McCarthy’s writing excels, creating richly drawn characters with authentic voices shaped by very different backgrounds, beliefs and resources.
Direction, Design and Didactics
The two men circle one another, retreat and engage again as McCarthy’s script builds naturally toward increasingly passionate confrontations. Yet there is some levity in the script. Spraul makes excellent use of the intimate performance space at Gabriel’s Corner, allowing audiences to experience the conversation from multiple perspectives. The setting features mismatched appliances, a battered counter and a worn kitchen table that reflect Black’s modest home. The lighting effectively shapes the emotional shifts, and the symmetry of the instrument grid above our heads is oddly comforting. The costumes quietly reinforce each character’s identity without drawing attention to themselves.
Ninety minutes pass remarkably quickly. Credit to Spraul, who gave this team the time to fully digest the script and deliver it with such conviction. One small note: the curtain call arrived a bit too abruptly. The audience could have used another beat to absorb what they had just experienced before applauding.
Stage manager Ben Dudley keeps the production running smoothly, supported by the planning of production manager and co-producer Hannah Gregory, currently appearing in Cincinnati Shakespeare Company’s The Complete Works of Jane Austen (Abridged). Also a shout out to Patrick Murphy Welage for house management.
The play offers no tidy resolution. Instead, McCarthy leaves the debate unfinished and places the burden of the final answer on us. We leave asking ourselves not only what we truly believe, but whether free will is ultimately a burden or a gift, and what responsibility we have to our fellow man. Perhaps that is the play’s greatest achievement, getting our “grey” matter working.
Tickets
The Sunset Limited runs through Aug. 8, 2026 at Gabriel’s Corner, located in Salem United Church of Christ, 1425 Sycamore Street, Cincinnati, OH 45202. Get tickets HERE from their Facebook link or from their website. Parking is available in the Ziegler Park Garage.
