Everyone carries something: a secret, a shame, a weight tethered to their heart. In The Bedwetter, performed at Arena Stage and directed by Anne Kauffman, that weight is literal for ten-year-old Sarah Silverman—she still wets the bed. But as the musical unfolds, it becomes clear that Sarah isn’t the only one in the musical burdened by something they’d rather hide. With a book written by Joshua Harmon and Sarah Silverman and music by the late Adam Schlesinger, The Bedwetter is a riotous, deeply personal, and unexpectedly moving story about growing up, family dysfunction, and resilience.

Young Sarah (played by Aria Kane) is at the center of the story. She’s a firecracker—spunky, eager, and always ready with an off-color joke picked up from her father, Donald (played by Darren Goldstein). Sarah’s childhood, on the surface, is defined by humor, but behind her one-liners and rainbow suspenders is a complicated home life. Her parents have just gotten divorced. Sarah’s mother, Beth Ann (played by Shoshana Bean), battles depression and spends most of her time in bed, unable to show up for her children. Her father, a charismatic, fast-talking salesman, is sleeping around, and her alcoholic grandmother, Nana (played by Liz Larsen), is constantly asking Sarah to mix her another Manhattan.

Despite the turmoil in her two homes, Sarah is still a happy, energetic kid. But the one thing she can’t seem to shake is that she still wets the bed. Sarah’s bedwetting is more than a childhood embarrassment—it makes her feel broken and convinces her that something is wrong with her. As Sarah’s shame deepens, her usual resilience starts to crack, and she sinks into depression.

Towards the end of the show, we learn that Sarah’s family is carrying a secret that mirrors Sarah’s bedwetting secret. The divorce, Beth Ann’s depression, and Nana’s drinking can all be traced back to one traumatic incident. Though they each cope in different ways, Sarah’s family is all grieving the same unspoken loss. When the cause of their pain is finally spoken aloud, it hits like a gut punch, reminiscent of the climactic reveal in the classic play Who’s Afraid of Virginia Woolf’s.

As The Bedwetter unravels its secrets, it forces the audience to reflect on their own burdens, regrets, and insecurities. And yet, The Bedwetter ultimately offers its audience hope. This is a true story, and Sarah Silverman of course grows up to be a wildly successful comedian, actress, and writer. She overcomes not just wetting the bed, but the feelings of shame and self-doubt that once consumed her, and watching Sarah’s path to self-acceptance encourages us that we can cast off our own burdens.

Despite The Bedwetter’s heavy themes, it remains unapologetically funny throughout. One of the musical’s most memorable moments comes when Sarah’s dad takes her to see a therapist (played by Rick Crom). Sarah, at age ten, is prescribed Xanax, and the scene quickly devolves into a kickline of actresses suited up in seven-foot-tall, glitter-covered Xanax pills (kudos to costume designer Kaye Voyce). Other memorable comedic moments come in Nana’s song “To Me” and Donald’s show-stopper “In My Line of Work,” whose punchline, which I won’t spoil here, had the audience laughing out loud. Liz Larsen and Darren Goldstein, who play Nana and Donald, are the comedic standouts of the show. Larsen’s retelling of the history of Jewish people during the invasion of the Huns is unforgettable and perhaps this writer’s biggest laugh of the show.

While some numbers are hilarious, others tug on the heartstrings and have the audience half in tears. The numbers “You Can’t Fix Her” and “When I was Nine,” hold the emotional weight of the show, with incredible performances from Bean, Goldstein, and Kane. These songs come towards the end and are a testament to the fact that The Bedwetter gets better and better right up to the finale. I would argue that most musicals have stronger first acts, but this musical finishes strong. With comedic and heartfelt performances, The Bedwetter hits just the right balance of humor and heart.

At its core, The Bedwetter is a story about overcoming shame, loss, and depression but also riotously funny. As I left the theater, I heard audience members chattering about wanting to see the show again. It is not to be missed.

Run Time: One hour and 45 minutes, with no intermission.

The Bedwetter plays through March 16, 2025, at Arena Stage – 1101 Sixth Street SW, Washington, DC. For tickets, call the box office at (202) 488-3300 or purchase them online.

Jim Diamondidis is a recent graduate of Harvard College. He works in musical theater and paints.

The Bedwetter: A Hilarious Musical about Overcoming Obstacles