"Have I No Mouth" stands as one of the rarities in theatre that master both the delicacies and weight of speech and sight. Irish playwright Feidlim Cannon takes on the ‘holy trifecta’ in this production: writing and directing the piece (with Gary Keegan), and performing (alongside his mother, Ann Cannon, and the incomparable Erich Keller). Both Mr. and Ms. Cannon play themselves in this story, while Keller takes the role of the ‘psycho-analyst’ guiding them through their memories. Seamlessly performed and bewilderingly cathartic, this visually-striking play steals audience members away on a journey of forgiveness and healing between mother and son.

The true demonstration of talent lies in how Mr. Cannon and Keegan are able to craft a family drama into a genuinely fresh and consistently engaging production. They exploit each word to its full utility. In fact, the pacing and delivery of each performer's speech -- calculating, deliberate, and wickedly potent -- informs the audience immediately about the importance of words, and lack thereof.

Every proceeding moment offers another understanding of language, with a tragically visceral and gripping effect. Mr. Cannon captures the heart-gripping honesty of loss, especially in moments like the day Ann suffers a miscarriage. There is an arresting juxtaposition in Feidlim's adult voice speaking for the cardboard cut-out representing his younger self. When young Feidlim misunderstands the phrase "She lost the baby," the child's subsequent rage at Ann -- masterfully conveyed through agonizing repetition: "How could you lose the baby?" -- unearths the honest and raw bitterness born in such tragedies. As Ann places her hand over her son's mouth to muffle his anger, the pain that resonates in the play's title becomes all too clear.

The play's visuals offer even more compelling work, as Feidlim finally steals the moment to speak with his deceased father once more. The silence in response to the son's pitifully honest and desperate questions stand as perhaps one of the most brilliantly authentic moments in theatre. Nevertheless, when Feidlim's frustration and pain overflows into him lashing out against the man representing his father, Mr. Cannon and Keegan reveal an even more electrifying point. We are watching Feidlim wrestle with the memory of his father, in every sense.

In a play where each scene surprises and grips the audience in empathetic melancholy or joy, it's difficult to describe anything without spoilers. Nevertheless, this work earns every second on stage, and will leave you in tears and satisfaction.