This post was updated Nov. 16 at 11:44 p.m.

“Driver’s Seat” takes audiences on a ride of personal exploration.

The one-woman show is playing at Theatre 68 Arts Complex in North Hollywood through Nov. 20. Writer Ellie Brelis performs an introspective account of her experience living with obsessive-compulsive disorder and seeking care at a psychiatric hospital during COVID-19 isolation. As the show’s producer, UCLA alumnus Misha Riley said “Driver’s Seat” not only spotlights a variety of critical issues facing young adults, but also breaks the boundaries usually associated with solo performances.

“It’s a show about a young woman’s struggle with OCD, with mental health and how that exploded during the pandemic, and how she put the pieces back together,” Riley said. “It’s a really unique and special play that goes beyond what one might think of as a typical solo show.”

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From the script’s first read through, Riley said he was drawn to the simultaneous vulnerability and resilience shown in Brelis’ character. Riley said Brelis’ honest writing naturally leads spectators into her complex feelings. He added that open dialogues around mental health conditions in “Driver’s Seat” are particularly important, as the severity of OCD symptoms can often be trivialized and misunderstood in casual conversations. The play not only taught Riley more about the experiences of living with the disability, but inspired him to continue advocating for increased discussions around mental health issues, he said.

In addition to mental health, “Driver’s Seat” also touches on Brelis’ coming out journey as queer, shining a light on both topics that people may fear discussing or attempt to suppress, Riley said. Identifying as gay, Riley said seeing queer representation on stage, which was rare when he was growing up, makes self-acceptance less challenging. Riley said he wishes to contribute to uplifting LGBTQ+ representation by giving visibility to such topics, as he sees both monumental support for and opposition to the queer community in today’s society.

“I hope that it (the play) starts conversations between people who may have been struggling with certain aspects of either identity or mental health,” Riley said. “I hope it shows them that they’re not alone – that this affects so many people, and that it’s not debilitating in any way.”

Having worked with Riley at UCLA, alumnus Emily Mikolitch was introduced to “Driver’s Seat” by Riley, and eventually became the show’s director. Finding a balance between dark humor and levity throughout the play, Mikolitch said “Driver’s Seat” avoided the stereotypical binary portrayal of mental illness by exploring the nuances of living with OCD while presenting a nonlinear journey. Because of the show’s personal nature, Mikolitch said she often seeks Brelis’ views on how to approach specific scenes authentically during the directing process.

The different portrayals of grief throughout “Driver’s Seat” embody Brelis’ emotional maturity as a self-aware storyteller, Mikolitch said. Mikolitch said she especially resonates with the scene where Brelis talks about the passing of her grandfather as she also shares a close bond with her own grandparents. As audiences with different lived experiences enter the theater, they might find different parts of Brelis’ story relatable, Mikolitch said.

Serving as the play’s production stage manager, UCLA alumnus Roella Dellosa is among those who see themselves represented in “Driver’s Seat.” Also brought on board by Riley, Dellosa said she was intrigued by Brelis’ humourous way of sharing topics that can resonate with spectators, such as living in a pandemic or losing a loved one.

“I hope people see that you can still be a joyful person, and you can still bring joy and light to the world when things are tough,” Dellosa said. “But also when you are in that place, there are people out there who can help you.”

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From reading the script to sitting with the audience to enjoy the performance, Riley said it is satisfying to turn such an intimate vision and heavy story into a live theatrical piece. He said he hopes “Driver’s Seat” can contribute to opening the door to the discussion of mental health issues through performance.

“It can be so scary to have a label put on you – whether that’s you have OCD, whether that’s you’re queer” Riley said. “There also can be pride in that label. (“Driver’s Seat” is) showing that strength in these subjects that aren’t talked about or seen as taboo or embarrassing or shameful – they don’t limit you at all. And you can actually make a show out of it.”