Alex Gibson

Watch Me Walk

January 30, 2026

Anne Gridley begins "Watch Me Walk" by taking its title at punishingly literal face value. She introduces herself, grips her walking stick—never a cane, a semantic correction that quickly reveals its philosophical weight—and proceeds to walk the length of the stage again and again, in near silence, for so long that the initial charge of provocation slowly discharges. What remains is not suspense but facticity. In another theatrical ecosystem, this might register as endurance art or a sly conceptual prank; here, in a Soho Rep production presented in association with the recently concluded 2026 Under the Radar Festival, it operates as a recalibration of spectatorship itself. We arrive alert, waiting for the performance to “start,” only to discover that it already has—and that the only thing lagging behind is our attention. [more]

The Voices in Your Head

September 18, 2024

In this return engagement of the site-specific "The Voices in Your Head" we are often asked to give pause in order to consider how differently we all process our grief. Earlier this summer another play, someone spectacular, tackled the same subject matter but in a more predictable way. With that play, we never forgot we were in a theater watching a support group navigating their weekly session (but for that evening without the benefit of their group leader). While that was presented in thrust staging (the audience surrounding the actors on three sides), The Voices in Your Head created by Grier Mathiot and Billy McEntee welcomes us as new members to the group. [more]

The Unsinkable Molly Brown

March 15, 2020

Although director/choreographer Kathleen Marshall has given the Transport Group production staged at The Abroms Arts Center a rousing production, the major problem still exists with the story: Molly goes from tomboy to wife to social activist but always seems to be the same. Basically Malone changes her outfits (costumes by Sky Switser) and becomes more mature and more sophisticated but never really changes from the girl at heart who wants riches and gaudy things. Costar David Aron Damane, with his powerful baritone, who plays J.J. Brown, the miner who strikes it rich and proceeds to give Molly almost everything she wants, helps a good deal but their love story is not made entirely believable, possibly because the stalwart Damane is still made to be a very retiring hero, a man of few words. [more]

Octet

May 29, 2019

Malloy, who wrote the book, music and lyrics, has taken a novel approach, staging Octet as if it were a 12-step program in which all the members of the group express their inner thoughts through a cappella singing all the while following the precepts of an AA or OA meeting. Annie Tippe has taken this sophisticated mass of brilliance and shaped it around the sensational talents of a small cast which performs miracles of acting and singing. [more]