Exeunt Magazine

Review: My Man Kono at ART/NY Theater - Exeunt Magazine NYC

From the silent age of cinema to the aftermath of the attack on Pearl Harbor, Philip W. Chung’s play, My Man Kono, about real life figure Toraichi Kono, gives a unique perspective on Kono’s experiences being Japanese in America in the first half of the twentieth century.  It’s a fascinating slice of history from a volatile era—but the play’s narrow lens on Kono and Charlie Chaplin’s working relationship and a limiting retrospective structure pushes some rich cultural history to the backend of th...

Review: English at Todd Haimes Theatre - Exeunt Magazine NYC

The process of learning a new language can be an act of invasion. Shaping your mouth, tongue, and brain for this new form of expression starts to change who you are behind the voice speaking. And learning English in this global economy is becoming less of a choice and sometimes it is a political necessity.
In Sanaz Toossi’s Pulitzer Prize-winning play, English, about students in an English class in Iran, it is hard not feel a profound loss at the end of the play knowing how language creates gaps...

the beautiful land i seek (la linda tierra que busco yo) at Pregones PRTT - Exeunt Magazine NYC

In Matthew Barbot’s play about Puerto Rican history, the beautiful land i seek (la linda tierra que busco yo), at some point West Side Story’s Maria is singing and crying over the body of Christopher Columbus surrounded by a whole lot of rolls of paper towels.
As you can imagine, this sets a certain satirical tone within this sincere and funny play that looks at political activism, Puerto Rican independence, and what generations of repeated colonization and oppression fosters. Director José Zaya...

Review: This is My Favorite Song at Playwrights Horizons - Exeunt Magazine NYC

Comedian Francesa D’Uva’s father died in June 2020 from COVID. He was in a coma in a hospital on a ventilator where his family could not visit him.
It is not the easiest starting place for the autobiographical show, This is My Song.  Frankly, D’Uva knows this.
She sings at one point “I don’t want to do this show.”  But her “talent representatives” have pushed her to do so. Part of the show is about getting back on the creativity horse after her loss and trying to figure out how to be funny or do...

Shit. Meet. Fan. at MCC Theater - Exeunt Magazine NYC

At some point in Robert O’Hara’s new play Shit. Meet. Fan. the audience is so riled up, laughing and gasping at every reveal, it feels like the heyday of the Jerry Springer show.  O’Hara wants to set a trap to unconsciously lure the audience into a pleasurable wallowing in other people’s shit but then turn the spotlight back on the audience.
He says the play is “a blistering vulgar satire on Male Toxicity and White Privilege.”  Those intentions are clear but he does not successfully skewer his s...

Review: Yellow Face at Todd Haimes Theatre - Exeunt Magazine NYC

In David Henry Hwang’s play Yellow Face, the playwright is weighing all sorts of contradictions in  fictionalized version of himself and wrestling with generational perspectives on Asian American activism and identity. This 2007 play, revived now in a production directed by Leigh Silverman, is a semi-autobiographical satire but also an interrogation of yellow face casting, Asian American identity, and the oppressive force of white America on Asian Americans.
It is funny and messy, and not withou...

Review: The Voices in Your Head at St. Lydia's - Exeunt Magazine NYC

If life can take many different forms, it makes sense that so can grief. There is no one way to process loss. But The Voices in Your Head, created by Grier Mathiot and Billy McEntee, reminds us that sometimes humor can be a tonic, especially at this “anti-grief” support group.
With an audience of around 20, held in an inclusive church in Brooklyn, St. Lydia’s, it’s an intimate site-specific setting (it becomes St. Lidwina’s in the play). We are seated in the support group circle (though there is...

Review: Table 17 at MCC Theater - Exeunt Magazine NYC

Set around a reunion of exes this new play lacks the fun and sparks it needs. Nicole Serratore reviews. I’ve often wondered why there aren’t more romance plays. Sadly Douglas Lyons’s comedy-romance Table 17 does not make the strongest case for them. Even with the always riveting Kara Young, the play is a shallow exploration of relationships, love, and romance. With wispy characters, mild laughs, and cringey dialogue, it’s hard to root for this couple at all.
Jada (Kara Young) and Dallas (Biko Ei...

Review: someone spectacular at The Pershing Square Signature Center - Exeunt Magazine NYC

Looking back on 2024, I have inadvertently programmed myself a cycle of grief plays. How did this happen? Perhaps in the aftermath (ongoing) COVID pandemic it is a subject that more playwrights have gravitated towards unpacking lately.
My mileage with these plays has varied greatly. From the strangely funny Grief Hotel to the awkwardly, mystical Find Me Here to the memoir-style of Lorenzo to this new play, someone spectacular by Doménica Feraud, which tries to be funny and a little mystical, but...

Review: Inspired by True Events at Theatre 154 - Exeunt Magazine NYC

Zig-zagging through theatrical genres and styles this new play does not know where to land. Nicole Serratore reviewsStage managers handle a lot. In this new play by Ryan Spahn, Inspired by True Events, the stage manager at Rochester Community Theater ends up dealing with issues well outside the bounds of what Equity expects and then some. She may be cleaning up the green room, brewing coffee, and chasing away mice but there are much bigger problems in store.
Falling somewhere between a real-time...

Review: Isabel at Abrons Arts Center

reid tang’s new play exists in a jiggly universe full of unpredictable concepts and images but meaning is harder to ascribe to it. Nicole Serratore reviews.

reid tang’s play Isabel is awash with unpredictable images and concepts. Time is not linear. The play is constantly redefining that which we see. For instance, a human sibling once known as Harriet using “he” pronouns might suddenly become a backpack named Loaves Chapman who is a “she.” One must give into the play’s jiggly universe and the

Review: Find Me Here at Clubbed Thumb

Crystal Finn’s new play, Find Me Here, is full of characters searching for meaning in life and death but it is less legible in what it delivers in that quest. It is a jumbled amalgamation of characters musing on big themes in personal ways, but the mystical energy in the play just fizzles in Caitin Sullivan’s muted production.

Three sisters have gathered to read their father’s will. Deborah (Kathleen Tolan) has been in a cult for 30 years and is estranged from her late parents and her sons. Nan

Review: What Became of Us at Atlantic Stage 2

Shayan Lotfi’s frustrating new play about sibling dynamics across diasporic cultures strains under the weight of its ambitious remit. The play is staged with alternating casts–first Rosalind Chao and BD Wong then Tony Shalhoub and Shohreh Aghdashloo.

The actor pairs play siblings with immigrant parents from an unnamed country. It’s sets up an interesting writing challenge to allow for actors of varying ethnic identities to play the roles, but, in reality, the writing ends up trapped by the conc

Review: The Lonely Few at MCC Theater

Zoe Sarnak and Rachel Bonds’s small scale rock musical, The Lonely Few, strikes some overly familiar chords with a wan score that never takes off. It is a romance about healing from past relationship wounds and taking a chance on living your own life. But with wispy characters it left me more puzzled than seduced.

Twenty-something Lila (Lauren Patten) is the lead singer in a band called The Lonely Few. She plays alongside her best friend Dylan (Damon Daunno), teenager JJ (Helen J Shen), and the

Review: Stereophonic at Golden Theatre

David Adjmi’s epic play reminds us art is not easy and it is the blood, sweat, and tears of people who make it happen. Nicole Serratore reviews.

David Adjmi’s extraordinary new play, Stereophonic, does not take the obvious path and that is what makes it one of the best plays of the decade. Art is not easy and this play painstakingly reveals how so much time, labor, love, loss, and literal tape it can take to make that art happen.

Set in a recording studio between 1976 and 1977, a band on the c

An Enemy of the People at Circle in the Square

Ibsen’s An Enemy of the People always feels timely, if blunt. It is a play about community pressure, capitalism, and politically inconvenient truths. It can hold a mirror up to society and reflect our times because individualism, self-interest, and mob mentality never go out of style. With strong performances, Amy Herzog’s adaptation and Sam Gold’s production make this a more vibrant offering than past ones but ultimately the play’s plot machinations have their limits.

Dr. Thomas Stockmann (Jer

Review: Munich Medea: Happy Family at WP Theater

A chilling story of childhood sexual assault is given a retrospective gloss by two women and suffers from some structural detachment. Nicole Serratore reviews.

Watching a man pick at his toes on stage is a bit disgusting. But it is not the worst thing this man has done, by a long shot.

In Corinne Jaber’s play, Father (Kurt Rhoads) is a pontificating ass of an actor in Munich. He is starring as Jason in Medea. He is preening, narcissistic, always quoting German plays and poets, and putting on h

Review: Monty Python's Spamalot at St. James Theatre

It should not be surprising that at some point in the middle of Monty Python’s Spamalot an audience member shouted out the next line while the actor took a pause.

Monty Python aficionados love to recite these famous routines from Monty Python and the Holy Grail (with a Life of Brian song thrown in for good measure). It underlines that the musical is built on a lot of audience familiarity and pre-existing goodwill. But this projection heavy production from director-choreographer Josh Rhodes show

Review: To the Ends of the Earth 땅끝까지 at JACK

Exeunt sent two critics–Nicole Serratore, who has some expertise in the Korean language and culture, and Loren Noveck, does not–to review the bilingual play To the Ends of the Earth / 땅끝까지 at Brooklyn’s JACK. Here’s what they thought:

Loren: Sometimes I really enjoy a piece of theater that challenges my position as an informed audience member. (For example, Jaja’s African Hair Braiding, where the laugh lines clearly fell quite differently for anyone in the audience who’d spent time in a braidin
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