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Theatre for a New Audience

Playing Shylock

October 30, 2025

Mark Leiren-Young’s timely one-man show, "Playing Shylock" (formerly called simply "Shylock"), has arrived in New York after its premiere run in Toronto in its new version rewritten around the life and career of veteran film actor Saul Rubinek ("The Marvelous Mrs. Maisel," "Unforgiven," "Frasier") playing himself. Returning to the stage for the first time since 1990, Rubinek plays an actor performing Shylock in a (fictional) production of Shakespeare’s "The Merchant of Venice" which is shut down by protestors claiming that the play is anti-Semitic and the theater company has caved in to their demands. While the play is fascinating and provocative, it also has some flawed passages but Rubinek is commanding at all times. [more]

The Wild Duck

September 21, 2025

The latest revival has been directed by Simon Godwin, artistic director of Washington, D.C.’s Shakespeare Theatre Company, in a co-production with Theatre for a New Audience. This revival uses the contemporary version by David Eldridge, first seen at London’s Donmar Warehouse in 2005 which combines some of the minor characters, shortening the cast list. While the text is clear, the uneven acting and interpretation of the characters undermines the play’s powerful and tragic resolution. [more]

Prosperous Fools

June 20, 2025

"Prosperous Fools" is like those 1960s and 70s East Village happenings where one never knew what was coming next. Taylor Mac’s tremendous imagination could use some reining in but his satire is pungent and on target. Like happenings, this is a show that must be experienced to feel the import of the event. And one admires Theatre for a New Audience for risking their funding to offer to stage it. Moliere would be pleased that his 18th century comedy gave rise to this 21st century free-for-all. [more]

The Swamp Dwellers

April 14, 2025

Before he was a Nobel laureate, before his name was canonized in the firmament of world literature, Wole Soyinka was a young playwright—barely in his mid-twenties—when he penned "The Swamp Dwellers" in 1958. And yet, this early work bears the unmistakable gravitas of myth: a compact, hour-long domestic drama that pulses with elemental force. In director Awoye Timpo’s hauntingly grounded revival, the piece reverberates with contemporary resonance. It is at once a family portrait and a parable, steeped in the muddy waters of postcolonial Nigeria and rippling outward into modern-day concerns—climate change, disillusionment with institutions, and the aching silence left by absent gods. [more]

Henry IV (Theatre for a New Audience)

February 12, 2025

Dakin Matthews’ "Henry IV" is a consistently engaging gift to the theater season. Shakespeare scholars may quibble about the extent of the cuts from "Henry IV, Part II," but the reality is the original in its entirety can be a bit of a slog. Eric Tucker’s company treats us to the sheer thrill of witnessing a rarity executed to perfection, its invigorating energy palpable in every precise detail. [more]

We Are Your Robots

November 25, 2024

While the musicians are exemplary, it is Lipton who does the heavy lifting in the show. With what amounts to a very witty hosting duty, his singing voice is one that is rich and quite comfortable in various genres. Director Leigh Silverman keeps him moving and talking at all times, always engaging the audience even when he is being upstaged by his “Grandpa Morrie,” a Roomba that speaks (and sings) in Roomba-ese. Morrie has the audience wrapped around his finger, rather circuitry, when Lipton asks him to wait backstage and Morrie can’t make it back up the ramp without help. Morrie later duets with Lipton and at one moment stops cold. Lipton’s attempts at restarting Morrie fail (is this what Roomba death looks like?) until bass player Riggs offers a battery from his own mouth to recharge Morrie. The whole audience goes “Awww” and applauds. [more]

Macbeth (an undoing)

April 22, 2024

In attempting to make a feminist statement out of Shakespeare’s "Macbeth", Harris has made Lady Macbeth into the same murderous monster that her husband became in the original. This does not seem to further the feminist cause that if women were in power they would do things differently. Lady Macbeth’s treatment of Lady Macduff (kidnapping her back from her home, attempting to take her child away, etc.) makes her almost worse than Shakespeare’s protagonist. Having eliminated most of the scenes outside of the Macbeth Castle, the second half seems both long and repetitious as things get worse and worse for the new queen. The famous “Tomorrow and tomorrow” soliloquy is rather chopped up so that it does not make her sympathetic as it did Macbeth when hearing about his wife’s suicide. [more]

Waiting for Godot

November 21, 2023

Ironically there is no rapport or chemistry between Shannon and Sparks playing friends who have been traveling together for 50 years. As Estragon, in need of sleep and with shoes that don’t fit, Shannon’s deadpan demeanor and poker face expression are unsuitable for a play in which all the actors have is their ability to communicate with each other as there is not much action, and less plot. As the more self-sufficient Vladimir, Sparks is better and more expressive but he can’t carry the play alone. Playing opposites, one pessimistic, one optimistic, it is important that we feel the tension and the link between them which here is latent. They are also somewhat younger than the roles are usually cast considering they mention having been together for five decades. [more]

Prometheus Firebringer

September 22, 2023

Somewhere there are rules for what theatre is supposed to do: it should entertain, it should instruct, it should provoke. To say that Annie Dorsen’s "Prometheus Firebringer" checks all the boxes is an understatement of what she has done here. It is a brilliant reactionary, and yes, even cautionary, piece that takes a 2,500-year- old play that doesn’t really exist anymore (what is left of it is the title and a fragment or two – the rest has been lost over time) and thrusts it into an exercise for the unwitting specter of Artificial Intelligence. The results are fascinating, yet unremarkable; provocative, yet giddy. [more]

Orpheus Descending

July 18, 2023

Among the problems with the production is the fact that there is no chemistry between Siff and Alexander. We are supposed to believe that their encounter not only brings Lady Torrance back to life but that Val falls in love for the first time. However, this is not demonstrated by their performances. Williams’ requirement that his heroine use a Southern yet Italian accent is a difficult assignment and Siff seems uncomfortable at this while her Italian accent comes and goes. More damaging still is that while we are told that Val Xavier has a positive effect on all the women who encounter him, Lady Torrance, Carol Cutrere, Vee Talbott (the Sheriff’s wife), and causing the men to be jealous, Alexander fails to exude the kind of charisma needed for this role. Not only is he too bland, he often fades into the woodwork when we should be conscious of his presence at all times. [more]

Des Moines

December 20, 2022

Michael Shannon, Hari Nef, Heather Alicia Simms, Arliss Howard and Johanna Day in a scene from [more]

Remember This: The Lesson of Jan Karski

September 17, 2022

Aside from his ability to create multiple characters with his voice and body language, Strathairn’s physicality is remarkable in aging from a young man to a senior citizen before our eyes as well as using the table for enacting various events such as jumping off of a train or Karski’s torture by the Nazis. (The movement director is Emma Jaster,) In the brief 90 minutes of playing time, Strathairn is able to establish a quietly heroic man’s entire life and career with modesty, sincerity and simplicity. It is not only a remarkable performance, it is also an impressive reconstruction of another man’s character and deeds. [more]

Wedding Band

May 9, 2022

Alice Childress’ "Wedding Band," which is a difficult play to stage due to its shifts in tone, is a major rediscovery. However, it straddles a thin line between realism and romance and its poetry needs to be handled very carefully. Unlike the tamer "Trouble in Mind," "Wedding Band" has a very strong message and a good deal to say about racism in American in telling its sensitive interracial love story about a time when it was a love that dared not speak its name. While this production makes some problematic choices, the time has certainly arrived for this play to be returned to the American stage. [more]

The Merchant of Venice (Theater for a New Audience)

February 16, 2022

Arin Arbus, resident director at Theatre for a New Audience, staging her tenth classic for them took a great risk with her new production of Shakespeare’s The Merchant of Venice: not only putting this 1597 play in modern dress, she has made Venice diversely multicultural as well as having the Jewish Shylock played by an African American. All of these things might have backfired and looked out of place. Surprisingly it all works, due to her spare, stripped-down direction, her fine cast, the nearly bare stone setting by Riccardo Hernandez which suggests an elegant Greek amphitheater, and her star, John Douglas Thompson with whom she has worked four times before in an assortment of classics. Along with the work of voice director Andrew Wade, the diction is crystal clear and Shakespeare’s verse sounds conversational and newly minted. [more]

Timon of Athens (Theatre for a New Audience)

January 23, 2020

On paper the concept should not work: scenes and characters have been cut, a Shakespeare sonnet has been added set to music, as well as a Greek song, and four characters originally written for men are played by women. Nevertheless, the streamlining of this modern dress production in the edition prepared by Emily Burns and Godwin makes this tragedy very accessible and eliminating subplots makes the play quite linear. The addition of women gives the play an almost contemporary feeling. The scenic and costume design by Soutra Gilmour for the first half of the play is simply dazzling, while the second half has its own visual display. [more]

Fefu and Her Friends

November 30, 2019

While María Irene Fornés' "Fefu and Her Friends" is considered a feminist statement, in performance the play seems not to be very revealing about women or their positions other than the fact that the cast is entirely female. Set among the very rich in the 1930’s, the play is liberated only to the extent that the women have enough money to do what they wish. With its attractive sets and stylish clothes and the novelty of moving from one set to the other, the play seems to be rather a period piece than a statement of women’s lib. Unlike such all-female plays as Hazel Ellis’ "Women without Men," Clare Boothe’s "The Women" and Jane Chambers’ "Last Summer at Bluefish Cove," "Fefu and Her Friends" does not have a lot to say although it remains entertaining throughout. Of course, it is possible that a women critic might have a very different take on this work. [more]

The Tragedy of Julius Caesar

April 3, 2019

Shakespeare’s politically charged Roman tragedy, "Julius Caesar," has always been a touchstone for inflaming emotions. In earlier times, monarchs used to ban the play when uprisings were imminent. In the 1930’s, the play was presented as an anti-Fascist rallying cry. In our own era, it has been presented with various American presidents as the stand-in for Caesar. While Shana Cooper’s production for Theatre for a New Audience here called "The Tragedy of Julius Caesar" is vigorous, lusty and lucid, it offers no political point of view. We never understand why the conspirators want to get rid of Caesar nor what they want to replace him with instead. [more]

About Alice

January 24, 2019

Humorist and journalist Calvin Trillin has made his wife Alice Stewart Trillin, educator, writer, mother and muse, famous from such books as "Alice, Let’s Eat," "Travels with Alice" and "Family Man." When she passed away in 2001, many readers felt they knew her well enough to send Trillin condolence notes. His acclaimed 2006 memoir, "About Alice," introduced her to a wider audience. Now Theatre for a New Audience has commissioned Trillin to dramatize the book as a two hander under the direction of Leonard Foglia. The play with Jeffrey Bean as Calvin and Carrie Paff as Alice is quite charming but Alice herself remains elusive. [more]

Fairview

June 27, 2018

Jackie Sibblies Drury is a unique new voice in the American theater. Her use of metatheater is all her own. "Fairview" has a great deal to say about race in America and the angle you see things from and she is able to cleverly shift it from scene to scene. However, this new play is a bit too long for its content, with scenes overstaying their welcome. Nevertheless, Drury is a playwright well worth watching. [more]

He Brought Her Heart Back in a Box

February 6, 2018

Whereas Kennedy became famous with plays that use myth, history, surrealism and Theater of the Absurd to tell their stories, this play tells a realistic tale in poetic form, its very brevity belying its depth of feeling. The play incorporates the styles of romantic drama, Elizabethan tragedy, old-fashioned operetta, a murder mystery, and recent history of the not so distant past. Events in the play were suggested by Kennedy’s mother and her own visits to her grandparents in the Jim Crow South. [more]

Marcel + The Art of Laughter

November 2, 2017

Like the great comedy teams, Jos Houben and Marcello Magni are a study in contrasts.  The Belgian Mr. Houben is tall, animated and relies on breezy patter.  The Italian Mr. Magni is short, often dour and mostly silent.  They have collaborated with Peter Brook at his Théâtre des Bouffes du Nord in Paris, and have performed together around the world. [more]

Measure for Measure (Theatre for a New Audience)

July 2, 2017

He has updated the play to a contemporary city rife with decadence and corruption. The audience enters the theater from backstage in order to visit Mistress Overdone’s brothel with sex toys and rooms for peep shows on display. Twelve members of the audience sit on either side of the thrust stage, a jury for morality one would suspect. The second act begins in a night club called "The Moated Grange” where Mariana is now a singer with the on-stage band. Six audience members are invited up to sit at the café tables that now dot the stage. [more]

Happy Days

May 13, 2017

At the end of this "Happy Days," it’s difficult not to be heartbroken by Ms. Wiest’s Winnie, particularly when she gets a rare glance at her significant other, Willie, who manages to crawl over the sand to serenade her with the “Merry Widow Waltz.” Jarlath Conroy playing Willie makes the most of his few scenes both behind and on top of the sandy mound. Somehow he even makes something of his slow crawl towards Winnie at the end. Seeing Ms. Wiest’s face at that moment is worth sitting through Beckett’s theatrical obfuscations. [more]

The Skin of Our Teeth

March 8, 2017

Thornton Wilder’s "The Skin of Our Teeth" with its benign belief in the resilience of the human condition is unlike any other American play you are likely to see. Both heavily influenced by earlier European experiments in theater, it is also influential in itself. While Arin Arbus’ production for Theatre for a New Audience at times seems as though it need tighting up, it is a play that must be experienced in the theater which is why it has never been turned into a Hollywood movie. Go and see for yourself what only the live theater can do to expand your imagination. [more]

Pericles (Theatre for a New Audience)

March 7, 2016

Nunn’s adaptation rearranges some of the scenes and adds material from a prose version of the work by George Wilkins, believed to be Shakespeare’s collaborator. Using music, song, dancing, jousting and a veritable rainbow of colorful costumes, he has created an epic-sized revival that is always eye-filling and easy to follow. While some of the acting is uneven in this large cast of 29 including seven members of the Pigpen Theater Co., it must be said that this is not one of Shakespeare’s best plays as it makes use of unexpected events, many locations, and a large canvas, rather than psychological depth and deathless poetry. [more]

Isolde

September 14, 2015

Experimental playwright/director Maxwell has a uniquely personal vision of theater. He has said in interviews that he directs his actors to be “neutral,” in other words all emotions are drained from the performances. Only the subtext tells us what they are feeling. His characters never seem to finish their sentences. Questions are left dangling. Much information is withheld. The play pulsates with unspoken tensions. He makes use of traditional forms and archetypes but explodes them partly by avoiding our expectations. "Isolde," which uses the Arthurian legend of Tristan and Isolde for its underpinnings, is absorbing theater. However, you will either find it pretentious or brilliant depending on what you want from a theatrical experience. [more]

The Two Gentlemen of Verona 

May 31, 2015

For those who saw Fiasco Theater’s inventive and clever version of "Into the Woods" at the Roundabout’s Laura Pels Theatre earlier this year, you know what a delightful take this company has on material that has previously been performed in a traditional manner. If you didn’t see their Into the Woods or their previous production of "Cymbeline," then you are in for an absolutely delightful treat with their latest production, "The Two Gentlemen of Verona," now at the Theater for a New Audience’s Polonsky Shakespeare Center. Performed with a cast of six talented and resourceful actors (five of whom were members of both the "Cymbeline" and "Into the Woods" casts) in a barebones production which hits all its marks, this early Shakespeare comedy is always hilarious, always surprising, always accessible and always romantic. [more]

An Octoroon

March 3, 2015

In 2015, it’s a bold move to revive a century and a half-old play that bears a racially insensitive title, and it’s an even bolder move to refrain from apologizing for such source material. Nevertheless, playwright Branden JacobsJenkins does just that in" An Octoroon," his adaptation of Irish playwright Dion Boucicault’s 1859 melodrama "The Octoroon." Back by popular demand from its previous Soho Rep mounting and recently extended at the Theatre for a New Audience through March 29, the production makes the risky decision to embrace an uncomfortable facet of our history and transform it into a contemporary piece. Thankfully, it paid off big time: the result is an entertaining, touching and illuminating theatrical experience that speaks to today’s audience. [more]

Tamburlaine, Parts I and II

November 24, 2014

Often credited as the play that proved to the Elizabethans that blank verse was the way to go with stage tragedy, it also heavily influenced contemporary William Shakespeare whose own history plays all followed this play by Marlowe. Performed in three hours with one 30 minute intermission, this Tamburlaine is truly epic in scope. Boyd's production stars John Douglas Thompson who after acclaimed performances in Shakespeare's Othello, Macbeth, Antony and Cleopatra, and King Lear, as well as O'Neill's The Emperor Jones, has become one of our finest tragedians. [more]

The Killer

June 11, 2014

Much of the work of the play is left to the smoke and lights added by the designers but these elements fail to create mood on TFANA's stage. Matthew Richards' lighting is suitable without becoming a real character in the play even when the scenes are performed on a bare stage. The off-stage noises created by sound designer Jane Shaw don't go far enough as Ionesco intended them to fill the stage with the off-stage crowds, locales and events that we don't see. [more]

Copyright Jack Quinn, 2001-2023