New York Theatre Workshop

Off-Broadway Review: “The Object Lesson” at New York Theatre Workshop

February 9, 2017 | Off-Broadway > | Tags:

“Do you have what you need? Do you need what you have?” – Geoff Sobelle The audience enters the New York Theatre Workshop into a vast display of “stuff” up for viewing, exploring, opening, sharing, moving around, and engaging with. And there is plenty to explore: lamps of all sizes and shapes; small boats filled with boxes suspended from the…

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Off-Broadway Review: Shakespeare’s “Othello” Consumes the Senses at the New York Theatre Workshop

January 1, 2017 | Off-Broadway > | Tags:

“Oh, beware, my lord, of jealousy! It is the green-eyed monster which doth mock the meat it feeds on” –  Iago in Shakespeare’s “Othello,” Act III, Scene 3 Whatever reasons that might be attributed to reimagining Shakespeare’s “Othello” – whether to create interest, heighten symbolism, or foster accessibility – what will always remain, front and center, is the tragic hero who…

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Off-Broadway Review: “Nat Turner in Jerusalem” at the New York Theatre Workshop

October 3, 2016 | Best Bet, Off-Broadway > | Tags:

“Yes, and this country will either cease its injustice or it will slowly fall to ruin. Leave it while you can.” – Nat Turner The encounter between Nat Turner (played with a powerful morally ambiguous core by Phillip James Brannon), Thomas R. Gray (played with a palpable malicious intent by Rowan Vickers), and the Guard (also played by Mr. Vickers)…

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Off-Broadway Review: “Hadestown” Redefines Mythos at the New York Theatre Workshop

May 23, 2016 | Off-Broadway > | Tags:

With some surprise – and a modicum of disbelief – I overheard the two Millennials settling in behind me at the performance of “Hadestown” I attended at the New York Theatre Workshop sharing that they “had no idea” what the show they were there to see was about. Is it possible to reach ones 20s and 30s and not know…

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Off-Broadway Review: “Red Speedo” at the New York Theatre Workshop (Closed Sunday April 3, 2016)

March 29, 2016 | Off-Broadway > | Tags:

“You did the only thing you could,/and the only thing you should./When you go for what you want, when you think about yourself,/when you do what’s best for you,/everyone benefits” – Peter to Ray On the eve before the qualifying trial for the Olympics, Ray (Alex Breaux) stands by the pool at his club listening to his brother Peter (Lucas…

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“Fondly, Collette Richland” at the New York Theatre Workshop (Closed Sunday October 18, 2015)

The Revelation of the Undertow of Wonder “I can’t help but wish and feel as if there’s more to our lives, somewhere, in this moment. Than this concern for the whereabouts and well-adjustment of a devil. I’m bored to exhaustion. Devil, devil. Devil. Bringer of evil. Filler of vacuums, blah blah blah.” Dora In a recent New York Times interview…

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“Kill Me Like You Mean It,” at Fourth Street Theater (Closed March 8th, 2015)

March 8, 2015 | Off-Broadway > | Tags:

If Eugène Ionesco and Martin McDonagh watched The Maltese Falcon,  they may very well have come up with something akin to Stolen Chair’s Kill Me Like You Mean It; but it wouldn’t be nearly as good as the comedic masterwork currently running at Fourth Street Theatre. When private eye Ben Farrell is hired to investigate a series of crimes seemingly…

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“The Events” at the New York Theatre Workshop (Closed Sunday March 22, 2015)

March 4, 2015 | Off-Broadway > | Tags:

“I like to imagine him in that night,/A trial berserker/An orphan in the moonlight,/Walking, singing, patrolling the bins by the coastal path,/looking for a tribe to protect.” Claire in “The Events” Reportedly, Anders Breivik – the rightwing extremist who bombed a government building in Oslo, Norway in 2011 killing eight people then shooting sixty-nine more in a youth camp –…

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“The Invisible Hand” at the New York Theatre Workshop (Closed January 4, 2015)

December 8, 2014 | Off-Broadway > | Tags:

Ayad Akhtar’s “The Invisible Hand” currently playing at the New York Theatre Workshop is an intelligent, emotionally charged, and captivating exploration of the complex dynamics of self-interest in a globally codependent environment. Under Ken Rus Schmoll’s electric direction, the ensemble cast leads – sometimes propels – the audience through a series of “ah-ha” moments which culminate in the kind of…

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