Review: "Lilith in Pisces" Brings Mother and Maiden into Intersecting Orbits

Lilith in Pisces

Written by Kayla Eisenberg

Directed by Stephanie Cox-Connolly

Presented by Drops in the Vase at The Siggy at The Flea

20 Thomas St, Manhattan, NYC

March 5-22, 2025

Morgan Zipf-Meister and Nicki Kissil. Photo by Kent Meister.
It is most assuredly the season of the witch in the world premiere of Lilith in Pisces, a new, outstanding play written by Kayla Eisenberg and directed by Stephanie Cox-Connolly, making its debut at The Flea.

Eisenberg’s play is a deeply moving meditation on the weight of the past, the appeals of escapism, and what it means to need connection—all under the auspices of something as innocuous as an extended interaction with a babysitter in a pleasant suburban townhouse in New Jersey. Albeit under a full moon.

On the surface, Diane (Morgan Zipf-Meister, understudy for Evelyn Peralta) and Erin (Nicki Kissil) have little in common beyond this would-be brief exchange at a babysitting gig in the suburbs. But as Erin settles into Diane’s warmly lit suburban townhouse, a deeper connection begins to surface—written not in conversation, but in the stars. When the dark moon reaches its fullest, Lilith awakens, unraveling the night into something far more charged and challenging than either woman expected. What starts as happenstance shifts into revelation, as astrology, memory, and fate intertwine their lives in a manner neither saw coming, but both might need.

Richard Lovejoy and Nicki Kissil. Photo by Kent Meister.
This dynamic is established early. When Erin arrives, Diane is literally bleeding, wounded by a shattered wine glass dropped amidst the chaos of a baby and acute abdominal pain. Erin arrives in this moment of pain, and the two shake hands—blood and all—forecasting the trajectory of this relationship and the intimacy that develops over the course of the production. There is a dance interrupted, featuring a breast pump. There is communion in the dual offerings of cannabis and mac and cheese.

Eisenberg’s script is fantastic, walking the incredibly difficult line between comedy and tragedy within the context of the occult. These witches laugh, cry, and know how to pull off a séance. Some of the best lines go to Diane, who explains to Erin the situation that led to the birth of her child, noting that she had been "stood up at my own abortion." The dialogue moves at this witty clip, Diane and Erin talking over each other as they find the rhythm and dynamic that will characterize their relationship as it develops over the next 90 minutes.

Stephanie Cox-Connolly is a marvel of a director, drawing emotional fidelity from her actors and the unlikely trajectory of their characters' relationship. There is honesty and pathos, and it is impossible not to feel both compelled and unnerved as a spectator to this growing intimacy. Morgan Zipf-Meister and Nicki Kissil are a mesmerizing duo—their give and take, the inversions of power and disclosure, are arresting and masterful.

Morgan Zipf-Meister. Photo by Kent Meister
The evening unfolds in a meticulously appointed suburban townhouse. The set (from scenic director Sandy Yaklin) captures the essence and contradiction of such a space as inhabited by Diane. It is all in the details: "Live, Laugh, Love" hangs on the wall, while a Rossetti print adorns the fireplace. The occult book at the center of the evening, Birthdays, Stars, and Numbers, sits beside a copy of The Riverside Shakespeare. Much like Diane herself, the space feels like one of complexity and contradiction, masking something deeper beneath its seemingly conventional furnishings. This is felt most acutely when a Wayfair-grade overstuffed ottoman is opened, revealing all the materials one could ever need for a séance. Much like Diane, the seemingly ordinary conceals the extraordinary.

The play concludes with ambiguity—resolution uncertain, yet connections undeniable. As the lights come up and Lana Del Rey’s haunting rendition of Donovan’s timeless "Season of the Witch" fills the space, the audience seems keenly aware that what they have witnessed tonight was a bit of magic—rather literally—on stage.

-Noah Simon Jampol

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