When the only witness to a murder suffers from Split Brain Syndrome--which prevents the two halves of his brain from working together--Detective Maxine Travis (from The Scavenger's Daughter) must figure out a way to get the witness to explain what he saw.

A Co-production of the Inclusive Theatre of Western New York and the Paul Robeson Theater of the African-American Cultural Center of Buffalo

Here is the Buffalo Theatre Guide Review:

So Good, It’s Criminal: Inclusive and Robeson Collaborate
NOVEMBER 12, 2023 / CHERIEMESSORE

There is so much to love about Inclusive Theatre of Western New York, starting with its mission to welcome actors and artists of all abilities and to address the misconceptions about otherwise-abled people. Next is the company’s vision and passion for finding new ways to celebrate art. Then there’s this collaboration with the Paul Robeson Theatre which brought playwright Gary Earl Ross’ Split/Wit to the stage. Split/Wit (A Maxine Travis Mystery) is on-stage now to November 19.

The plot centers around a murder investigation and we flashback to meet Alana – the victim – and see a slice of her life. She’s the caregiver for her brother Jeremy who lives with neurological disabilities, an award winning chef, and someone who enjoys physical relationships with men and women. And yes, the plot reveals a reason for her personal behaviors. This was all fascinating to watch unfold and elevated the plot far beyond the typical who-dunnit crime story.

Alana is played by Jo O’Donnell who gives her character vibrancy and charm. Brother Jeremy is portrayed by Umar Azam in an intense and compelling role. We also meet Alana’s psychiatrist played by Brendan Cunningham who draws on his staid and steady approach to manage Alana’s peripatetic behavior. Alana’s love interests are Madison Sedlor as Lillian the artist and Dallas Taylor as Ted the business executive, polar opposites who appeal to Alana’s array of needs. Emrald Ja’cell is Detective Maxine Travis who leads this complex investigation. She’s understated which lets the more dynamic nature of the characters and their stories push out. Director Lawrence Rowswell was astute to guide the storytelling this way, hinting at some complexity in Maxine’s character but reserving that for future stories.

Ross’ script is beautifully nuanced in ways that celebrate the company’s mission. If he wrote it to fit or if it’s merely a serendipity, this is a powerful combination that bodes well for this company’s unlimited future. The set and staging were simple elements which also let the script and characters shine. The lighting made it all work: it was simple and well placed. Stage manager Matthew Mogensen managed this very well. Producer Aimee Levesque makes thoughtful and astute choices and – more importantly – gets it all right.

I really enjoy the genuine and personal connection that shows at the Robeson encourage. Robeson Artistic Director Verneice Turner opens the show with the usual announcements, with a twist: if you’re a caregiver, you’re invited to set your phone to vibrate and discreetly leave if duty calls. I know: phone addicts are annoying and yes, you can leave your tweets and social scrolling for later for sure. But sometimes life intervenes and it’s refreshing to be lovingly told that it’s OK to let your phone nudge you as needed. The cast was also in the lobby immediately after the show with warm and genuine thanks for opening night’s sold out audience. Yes, there may be more elegant spaces and slicker productions elsewhere in our wonderfully broad and diverse theatre community, but Robeson shows with their well-curated collaborators are good reminders that dazzle isn’t always needed for a great experience.

This is a short run so visit www.inclusivetheatreofwny.com for details and tickets. You’ll appreciate a good story well told and the comfortable, accessible, welcoming vibe.

The play is available in the collection Killing Grounds.