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Caleb Eberhardt

The Comeuppance

June 12, 2023

Branden Jacobs-Jenkins’ "The Comeuppance," the culmination of his decade as a Premiere Resident playwright at Signature Theatre, does for the millennials what "The Big Chill" did for the Baby Boomers. Astutely directed by Eric Ting, this fascinating but uneven play also reviews the stresses and traumas of the last 20 years for that generation. This five-character reunion of people who knew each other at St. Anthony, class of 2002, in Prince George’s County, Maryland, is densely plotted and packed with dramatic moments. And then there is a new wrinkle, an uninvited guest. [more]

On Sugarland

March 8, 2022

Aleshea Harris’ third New York stage play following her form-bending "Is God Is" and "What to Send Up When It Goes Down" is epic in all senses of the word: it includes poetry, dance, incantation, comedy and drama. The new play "On Sugarland," an anti-war drama, also harks back to the Greeks, borrowing characters from Sophocles’ "Philoctetes" and Euripides’ "The Trojan Women," as well as the concept of the Chorus. It tells three interwoven stories as well as one communal one and ends with a shocking finale that is the hallmark of Greek tragedy. Director Whitney White’s production with its cast of 14 is quite versatile and lives up to its lofty task. [more]

Choir Boy

January 15, 2019

Now playing at the MTC’s Samuel J. Friedman Theatre on Broadway, "Choir Boy" is set at The Charles R Drew Preparatory School for Boys, a Catholic academy for young men of color. Written by Tarell Alvin McCraney (who shared the 2017 Academy Award for Best Adapted Screenplay for Moonlight), the problem with the play is that Pharus’ colleagues and choir mates prove as generic as the student uniforms they all wear: blue blazers, white shirts, striped ties, and beige trousers. (The costume designer is David Zinn, who also did the scenery.) [more]

Is God Is

March 14, 2018

On the basis of “Is God Is,” Aleshea Harris is a new voice in the American theater whose work bears watching in the future. The play is the latest in a long line of revenge stories from the Bible to Quentin Tarantino. The nagging question becomes does Harris have an underlying theme other than the righting of past wrongs by violence. However, Magar’s riveting production never gives the viewer a chance to ponder on this dilemma while the tightly written drama is unfolding before you. While the play has a dark humor throughout, in a parody of the famous Louis Jordan song, it seems to ask the question, “Is God is or is God ain’t?” After witnessing the retribution of the sisters, only the viewer can decide for him or herself. [more]