I've come up with this year's list of the top plays I saw that opened in New York in 2019.
Of course some plays didn't qualify, like What the Constitution Means to Me, which opened last year Off-Broadway, or Timon of Athens, which I actually saw in England.
Last year, Travesties and Twelfth Night topped the list, and this year included pieces produced by Roundabout and The Public Theater as well. Here's this year's top ten, in reverse order:
10. Antony and Cleopatra - Hudson Warehouse provides a mixed bag of free classical theater in Riverside Park, but this year's modernized production of one of the great tragic love stories of all time was definitely worth seeing.
9. The Importance of Being Earnest - Another great free outdoor production this year was New York Classical Theatre's clever take on Oscar Wilde's The Importance of Being Earnest. This year they performed the play in both traditional and gender-swapped versions.
8. Midsummer: A Banquet - Food for Love Productions turned Shakespeare's A Midsummer Night's Dream into a tasty treat with this immersive production directed and choreographed by Zach Morris. The Art Nouveau aesthetic worked brilliantly, but it was the remarkable acting that sold the show.
7. Cyrano - Yes, this musical adaptation of Cyrano de Bergerac by the New Group was all over the place, but it still managed to make me cry... a lot. If they end up releasing a cast album, definitely buy it. And yes, Peter Dinklage can sing. (We already knew Jasmine Cephas Jones and Grace McLean could.)
6. King Lear - Glenda Jackson gave a performance of a lifetime in this Broadway production of Shakespeare's bleakest tragedy. Sam Gold's direction was problematic at times, but a supporting cast including Jayne Houdyshell and Ruth Wilson made up for it, and the production was thoroughly enjoyable, if rather long.
5. Caesar and Cleopatra - Gingold Theatrical Group scored a hit again this year with their Off-Broadway revival of an epic historical comedy by George Bernard Shaw. Director David Staller's imaginative staging featured seven amazing actors and one hysterical puppet. I'm looking forward to seeing what GTG does next year!
4. Hillary and Clinton - Lucas Hnath's play about the 2008 presidential primary had already been making the rounds before landing on Broadway this year. His writing is always clever, but Broadway audiences had the added benefit of seeing Laurie Metcalf and John Lithgow in the title roles. The play succeeded by eschewing historical accuracy in favor of a more metaphorical truth.
3. Much Ado About Nothing - The stand-out Shakespeare production of the year was undoubtedly The Public Theater's production of Much Ado About Nothing in Central Park. Director Kenny Leon assembled an incredible cast, and fortunately their performance was recorded and aired on PBS to be shared with the entire nation. If you missed it in the park, make sure you see the recorded version.
2. Scotland, PA - A lot of people have been crowing about Hadestown, which I saw both Off-Broadway and in London, though I have not yet seen in its new Broadway incarnation. The best new musical that I saw this year was Adam Gwon's Scotland, PA, a brilliant adaptation of the 2001 film, which was itself based on a certain Scottish Play. Alas, Roundabout has closed this production, but it deserves to have a longer life elsewhere.
1. Juno and the Paycock - Though I'm not a huge fan of Sean O'Casey, this spring Irish Repertory Theatre presented his three Dublin plays in rep, which is an opportunity not to be missed. Of the three, Juno and the Paycock is O'Casey's best play, and this production was masterfully directed by Neil Pepe to navigate the layers of comedy and tragedy for maximum effect. Irish Rep has a great line-up of shows for the coming year, including Dion Boucicault's classic farce London Assurance, which is running now.
I'm looking forward to that and lots of other great shows in 2020!
Showing posts with label Jayne Houdyshell. Show all posts
Showing posts with label Jayne Houdyshell. Show all posts
Thursday, December 26, 2019
Friday, April 26, 2019
The Time's Plague
Last night I
finally saw Sam Gold's production of King Lear starring theatre legend Glenda Jackson. One might think
that the defining issue of this production would be the casting of a female
Lear, but that was not the case. Not by a long shot.
Sure, Jackson is
undeniably female in appearance, as is Jayne Houdyshell, who plays the Earl of Gloucester.
However, both characters wear male attire and are referred to as
"he" throughout the piece. Similarly, the Fool is played by Ruth
Wilson, who also portrays Cordelia, but in all three cases we quickly accept
the characters as male, regardless of voice or appearance.
No, Sam Gold,
who has caused previous stirs on Broadway directing such plays as Fun Home and A Doll's House, Part 2, has made gender-bending one of the less
remarkable aspects of this production. Perhaps the most remarkable, for good or
ill, surrounds the use of Russell Harvard to play the Duke of Cornwall as deaf,
with Michael Arden playing the "Aide to Cornwall" who serves as an
interpreter, providing sign language for the Duke and translating the Duke's
signing into spoken English.
Notice that the
Aide is interpreting for the Duke, not for the audience. While many shows these
days offer interpreted performances for the deaf and advertise them on their
websites, that does not seem to be the case with King Lear. If the production does offer interpreted performances,
the producers seem to have kept them a secret. And what a great opportunity
that could have been! Deaf audience members could have come to see King Lear with a deaf performer playing
Cornwall and with much of the dialogue interpreted from the center of the
stage, not just from one or two interpreters at the edge of the action.
Instead of
providing accessibility for the deaf, the Broadway production provides the
illusion of accessibility, and all for the benefit of hearing audiences who get
to pat themselves on the back and imagine themselves as open-minded and
inclusive while they are actually continuing to shut out deaf audience members.
At worst, the casting of Harvard (an actor who according to his Wikipedia biography has residual hearing but identifies as deaf) has uncomfortable echoes
of staging practices in Shakespeare's own time of using physically or mentally disabled
performers for the entertainment of "normal" audiences.
Readers of this
blog know I have little patience for theatre artists who trumpet their own
horn about accessibility while hypocritically producing ridiculously inaccessible pieces of garbage. If producers want to truly put on shows accessible
for the deaf, we know how to do it. A beautiful example of such a show was the
Deaf West production of Spring Awakening,
which not only had Harvard in the cast, but was actually directed by Arden, who
plays Cornwall's Aide in King Lear. Clearly,
these two champions of inclusive theatre were on board with Gold's concept, but
then why couldn't the producers have made the performances accessible to deaf
audiences--at least at select shows they could have advertised on the play's website?
While still
inaccessible for deaf audiences, the performance was arguably made accessible
for a deaf actor, but that position is rendered ridiculous by the fact that
Harvard also plays the minor role of Curan (though he is not credited as such)
and in that role vocalizes his lines without a trace of an accent. (The same
could not be said of Cornwall's wife Regan, played by Irish actress Aisling
O'Sullivan, whose accent was nearly unintelligible to my American ears.)
Harvard is talented enough that he could have appeared on stage as Cornwall,
speaking all of his lines and never needing a translator. Thus, the use of
signing had nothing to do with accessibility in this case, and everything to do
with creating a spectacle for hearing audiences.
Now that we have
dispensed with the idea that the use of signing had the slightest thing to do
with accessibility (unless there were some secret, unadvertised performances
that provided additional interpretation for deaf audience members) we can
proceed to judge it as spectacle. Though the production appears to have
completely shunned actual deaf audience members, was its appropriation of deaf
culture for a hearing audience at least dramatically effective? The answer
is--for the most part--yes, it was. Shakespeare fans know that Cornwall has a
loyal servant who refuses to stand idly by while the Duke blinds the Earl of
Gloucester, and with the Aide's presence in every scene involving Cornwall, it
was not difficult to guess who that loyal servant would be.
My big
reservation artistically involves Harvard's dual role as Cornwall and Curan.
There were plenty of people in the ensemble who could have played that minor
role, but instead Harvard played it, seemingly in the exact same costume, only
instead of wearing the kilt he wore as Cornwall, wearing trousers as Curan.
Presumably, the audience was supposed to know that he was a different character
because he wasn't signing and wasn't in a kilt, but the rest of his costume was
the same, and Harvard's beard makes him unmistakable.
Later, when
Cornwall is angry, he does vocalize some lines, but with a heavy accent that
emphasizes the character's deafness. After he dispatches his Aide, he vocalizes many if not
all of his lines. (This is again done for the audience. The production has
already established that Cornwall's wife is fluent in sign language.) While his
first few vocalized lines come out as impassioned roars, by the end of the
scene, he seems to have dropped his accent entirely and is speaking quite
clearly, in spite of the character having just received a mortal wound.
Overall, the
concept could have worked, but Gold's direction muddies it. I felt the same way
about the doubling of Cordelia and the Fool. Many Shakespeare scholars believe
these two parts were written to be performed by the same actor, so the double
casting makes sense. However, Gold's staging then implies that the Fool is
actually Cordelia in disguise... or is he? The production seems to want to have
it both ways, just like it wants to appear to be inclusive of deaf audiences
even while it rejects their actual presence.
While I have
mixed feelings about Wilson's Cordelia, her Fool was to me the heart and soul
of the show. It is the job of the Fool to point out the obvious, and Wilson's
Fool pointed out the parallels of a story about a mad king with power-crazed
yet incompetent hangers-on and our country's present political situation.
Nowhere was this more apparent than in the Prophesy of Merlin:
When usurers
tell their gold i' th' field,
And bawds and
whores do churches build,
Then shall the
realm of Albion
Come to great
confusion...
Wednesday, April 12, 2017
A Doll's House, Part 2
If the title of Lucas Hnath's new play A Doll's House, Part 2 sounds like a joke, that's because it is, but Hnath is determined to mine a classic playwriting exercise for all the comic gold it's worth.
Yes, I know instructors who have given the assignment: "Write an extra scene for Henrik Ibsen's A Doll's House after Nora leaves." This is usually a way to get students thinking, not generally a recipe for a new Broadway show.
The Nobel Prize-winning Austrian playwright Elfriede Jelinek wrote a play called What Happened After Nora Left Her Husband in 1980, so Hnath's success in getting a sequel to A Doll's House produced is not unprecedented. However, when your precedent comes from a Nobel Prize winner, putting something like this on Broadway seems like a gutsy move.
Does it pay off? Well, the piece certainly earns its fair share of laughs. In the first scene, Nora (played by Laurie Metcalf) returns to the Helmer household after having made a new life for herself as a successful writer. There's something she wants, and she takes her sweet time in enlisting the help of her former governess, Anne Marie (played by Jayne Houdyshell).
It turns out that her husband Torvald (Chris Cooper) never actually filed for divorce. This surprises Nora, though personally, I always assumed Torvald wouldn't make the separation legal. That would take more spine than he's got. Watching Torvald try to avoid honestly looking his wife in the face is amusing, largely because it's so rooted in character.
The best scene, however, isn't with Anne Marie or Torvald, but comes when Nora is forced to face her adult daughter Emmy (played by Condola Rashad). Emmy is affable, energetic, playful, and extremely perceptive--everything Nora is in Ibsen's A Doll's House. Having grown up without a mother, though, she has chosen a very different path and has a completely different view of marriage and family than her mother.
After the wonderful Emmy scene, Hnath still has some twists and turns for the audience, but Nora's confrontation with her daughter is the heart of the play. While everyone is dressed in nineteenth-century clothes, the dialogue remains self-consciously modern. This sequel might not be as good as the original when performed by top actors, but it is still a great deal of fun.
If you want to go, check out the show's website. Also, $29 tickets are available through TheaterMania. Those tickets are in the back row, but when I saw the show on Tuesday night, the ushers moved us up to the front mezzanine before the play started.
Yes, I know instructors who have given the assignment: "Write an extra scene for Henrik Ibsen's A Doll's House after Nora leaves." This is usually a way to get students thinking, not generally a recipe for a new Broadway show.
The Nobel Prize-winning Austrian playwright Elfriede Jelinek wrote a play called What Happened After Nora Left Her Husband in 1980, so Hnath's success in getting a sequel to A Doll's House produced is not unprecedented. However, when your precedent comes from a Nobel Prize winner, putting something like this on Broadway seems like a gutsy move.
Does it pay off? Well, the piece certainly earns its fair share of laughs. In the first scene, Nora (played by Laurie Metcalf) returns to the Helmer household after having made a new life for herself as a successful writer. There's something she wants, and she takes her sweet time in enlisting the help of her former governess, Anne Marie (played by Jayne Houdyshell).
It turns out that her husband Torvald (Chris Cooper) never actually filed for divorce. This surprises Nora, though personally, I always assumed Torvald wouldn't make the separation legal. That would take more spine than he's got. Watching Torvald try to avoid honestly looking his wife in the face is amusing, largely because it's so rooted in character.
The best scene, however, isn't with Anne Marie or Torvald, but comes when Nora is forced to face her adult daughter Emmy (played by Condola Rashad). Emmy is affable, energetic, playful, and extremely perceptive--everything Nora is in Ibsen's A Doll's House. Having grown up without a mother, though, she has chosen a very different path and has a completely different view of marriage and family than her mother.
After the wonderful Emmy scene, Hnath still has some twists and turns for the audience, but Nora's confrontation with her daughter is the heart of the play. While everyone is dressed in nineteenth-century clothes, the dialogue remains self-consciously modern. This sequel might not be as good as the original when performed by top actors, but it is still a great deal of fun.
If you want to go, check out the show's website. Also, $29 tickets are available through TheaterMania. Those tickets are in the back row, but when I saw the show on Tuesday night, the ushers moved us up to the front mezzanine before the play started.
Saturday, December 31, 2016
Best Plays of 2016
There weren't too many good things about 2016, but there were a few stand-out theater productions in New York, so once again I'm compiling a list of the best shows I saw that opened in New York City this past year.
Remember, these are shows that opened in 2016, so I couldn't include Sense and Sensibility, The Woodsman, and some other great plays I saw this year. Here are my picks in reverse order:
10. Blackbird - David Harrower wrote Blackbird more than a decade ago, but the play didn't make its Broadway premiere until this past February. That's a sad commentary on the state of American theater, but better to arrive late than never. Jeff Daniels and Michelle Williams were excellent in this two-hander (or is it?) and the play kept audiences guessing right until the end.
9. Othello: The Remix - This hip-hop update of Shakespeare's tragedy re-imagines the story with a comic twist, but the Q Brothers manage to create a few touchingly dramatic moments as well. This show is still playing at the Westside Theater off-Broadway, and if you haven't seen it yet, get your tickets now! It's only running until January 15th, so you better act fast.
8. The Bacchae - The Faux-Real Theatre Company does some magnificent work re-imaging the Greek classics, and this year's production of The Bacchae at La Mama was no exception. The masks were excellently done, and the moments when they came on and off of the actors were especially powerful. Lynda White's puppets brought added excitement to Euripides' tragedy. Be sorry if you missed it!
7. The Humans - Stephen Karam's off-Broadway hit The Humans transferred to Broadway this year, winning a Tony Award for Best Play in the process. While the cast of The Bacchae was filled with young up-and-comers, this production features veteran actors Reed Birney and Jayne Houdyshell giving performances of a lifetime. The Humans is also closing January 15, so get your tickets if you haven't seen it yet!
6. The Place We Built - Kudos to The Flea for staging this play about a right-wing takeover in Hungary that seems scarily prescient of our own country's position today. Sarah Gancher's script gives a shocking account of recent events in Hungary told through the eyes of a young American filmmaker (played touchingly by Isabelle Pierre). The play's use of music also added tremendously to the performance. Particularly given recent events, we need more plays like this.
5. Widowers' Houses - The Actors Company Theatre is known for their quality revivals of classics, and this co-production they did with Gingold Theatrical Group earlier this year even surpassed expectations. George Bernard Shaw's first performed play doesn't get done much anymore, and this production proved what a shame that is. Widowers' Houses exposes not just the corruption of our economic system, but also how all of us are implicated. More than a hundred years after the play was written, it is still sadly relevant.
4. Puffs - Yes, this show has been around for a while, but it only opened off-Broadway this year, so I'm including it on the list. If you haven't seen it yet, Puffs tells the story of a certain boy wizard during seven increasingly eventful years at a magical school that shall not be named for copyright reasons. The brilliance of this play by Matt Cox is that instead of focusing on Harry and his friends, it gives us an account of three losers at the school who belong to the one house that perpetually comes in last. If you're a Potterhead and haven't seen it... where have you been! Get your tickets now!
3. Hadestown - New York Theatre Workshop's production of Hadestown has got to be the best new musical to come out of 2016. Based on a concept album by Anais Mitchell, the show tells the story of Orpheus and Eurydice against the background of Depression-era rural America. When Patrick Page as Hades asks the musical question "Why do we build the wall, my children?" chills will definitely run through your body. Though the brilliant production directed by Rachel Chavkin is closed, a cast album is being released, and I'm holding out hope that this show will eventually return, perhaps even on Broadway.
2. Butler - Richard Strand's comedy about the Civil War general Benjamin F. Butler has been making the rounds at regional theaters, but when New Jersey Repertory Company brought their production to 59E59, it was the first time New York City audiences got a chance to see the play. Ames Adamson was perfect as the title character in this comedy about how history-shaping decisions really get made. Strand proves that serious topics like war and slavery can be laughing matters after all. Though theater in New York City may be struggling, this production proves that in many places, regional theater is still going strong.
1. A Doll's House - My favorite production this year was Theatre for a New Audience's magnificent staging of Henrik Ibsen's A Doll's House. Starring Maggie Lacey and John Douglas Thompson, this play could not have asked for a better cast. Director Arin Arbus placed the audience on two sides of the stage, making sure that everyone had an intimate experience with the classic play. This rendition was funny, sexy, and ultimately heartbreaking. Thorvald and Nora's marriage made sense in this version, though that didn't mean it wasn't still doomed from the beginning. Make a note to check out TFANA's shows next year. They could be just as surprising!
Honorable mentions this year go to Mabou Mine's Imagining the Imaginary Invalid and Ivo van Hove's Broadway production of The Crucible. Hopefully 2017 will be a better year, for the theater and for the world!
Remember, these are shows that opened in 2016, so I couldn't include Sense and Sensibility, The Woodsman, and some other great plays I saw this year. Here are my picks in reverse order:
10. Blackbird - David Harrower wrote Blackbird more than a decade ago, but the play didn't make its Broadway premiere until this past February. That's a sad commentary on the state of American theater, but better to arrive late than never. Jeff Daniels and Michelle Williams were excellent in this two-hander (or is it?) and the play kept audiences guessing right until the end.
9. Othello: The Remix - This hip-hop update of Shakespeare's tragedy re-imagines the story with a comic twist, but the Q Brothers manage to create a few touchingly dramatic moments as well. This show is still playing at the Westside Theater off-Broadway, and if you haven't seen it yet, get your tickets now! It's only running until January 15th, so you better act fast.
8. The Bacchae - The Faux-Real Theatre Company does some magnificent work re-imaging the Greek classics, and this year's production of The Bacchae at La Mama was no exception. The masks were excellently done, and the moments when they came on and off of the actors were especially powerful. Lynda White's puppets brought added excitement to Euripides' tragedy. Be sorry if you missed it!
7. The Humans - Stephen Karam's off-Broadway hit The Humans transferred to Broadway this year, winning a Tony Award for Best Play in the process. While the cast of The Bacchae was filled with young up-and-comers, this production features veteran actors Reed Birney and Jayne Houdyshell giving performances of a lifetime. The Humans is also closing January 15, so get your tickets if you haven't seen it yet!
6. The Place We Built - Kudos to The Flea for staging this play about a right-wing takeover in Hungary that seems scarily prescient of our own country's position today. Sarah Gancher's script gives a shocking account of recent events in Hungary told through the eyes of a young American filmmaker (played touchingly by Isabelle Pierre). The play's use of music also added tremendously to the performance. Particularly given recent events, we need more plays like this.
5. Widowers' Houses - The Actors Company Theatre is known for their quality revivals of classics, and this co-production they did with Gingold Theatrical Group earlier this year even surpassed expectations. George Bernard Shaw's first performed play doesn't get done much anymore, and this production proved what a shame that is. Widowers' Houses exposes not just the corruption of our economic system, but also how all of us are implicated. More than a hundred years after the play was written, it is still sadly relevant.
4. Puffs - Yes, this show has been around for a while, but it only opened off-Broadway this year, so I'm including it on the list. If you haven't seen it yet, Puffs tells the story of a certain boy wizard during seven increasingly eventful years at a magical school that shall not be named for copyright reasons. The brilliance of this play by Matt Cox is that instead of focusing on Harry and his friends, it gives us an account of three losers at the school who belong to the one house that perpetually comes in last. If you're a Potterhead and haven't seen it... where have you been! Get your tickets now!
3. Hadestown - New York Theatre Workshop's production of Hadestown has got to be the best new musical to come out of 2016. Based on a concept album by Anais Mitchell, the show tells the story of Orpheus and Eurydice against the background of Depression-era rural America. When Patrick Page as Hades asks the musical question "Why do we build the wall, my children?" chills will definitely run through your body. Though the brilliant production directed by Rachel Chavkin is closed, a cast album is being released, and I'm holding out hope that this show will eventually return, perhaps even on Broadway.
2. Butler - Richard Strand's comedy about the Civil War general Benjamin F. Butler has been making the rounds at regional theaters, but when New Jersey Repertory Company brought their production to 59E59, it was the first time New York City audiences got a chance to see the play. Ames Adamson was perfect as the title character in this comedy about how history-shaping decisions really get made. Strand proves that serious topics like war and slavery can be laughing matters after all. Though theater in New York City may be struggling, this production proves that in many places, regional theater is still going strong.
1. A Doll's House - My favorite production this year was Theatre for a New Audience's magnificent staging of Henrik Ibsen's A Doll's House. Starring Maggie Lacey and John Douglas Thompson, this play could not have asked for a better cast. Director Arin Arbus placed the audience on two sides of the stage, making sure that everyone had an intimate experience with the classic play. This rendition was funny, sexy, and ultimately heartbreaking. Thorvald and Nora's marriage made sense in this version, though that didn't mean it wasn't still doomed from the beginning. Make a note to check out TFANA's shows next year. They could be just as surprising!
Honorable mentions this year go to Mabou Mine's Imagining the Imaginary Invalid and Ivo van Hove's Broadway production of The Crucible. Hopefully 2017 will be a better year, for the theater and for the world!
Sunday, April 17, 2016
The Humans
Yesterday, I saw Stephen Karam's new play The Humans. This family drama teases the audience with intimations of the supernatural, though it never really confirms the suspicions it arouses (at least not as could be seen from the cheap seats where I was sitting).
This tale of a dysfunctional family come together to share a meal most noticeably resembles August: Osage County by Tracy Letts. Similar to that play, it features a multi-story set with lots of nooks where characters can have semi-private conversations while the rest of the family is still onstage.
The play makes extensive use of sound and lighting, as bulbs burn out, LED lanterns emerge, and mysterious noises come from outside a duplex apartment in Chinatown. What is going on out there? Are some strange, ominous forces threatening the humans inside? Or are the humans the most frightening monsters of all?
Actor Reed Birney, who created a name for himself in off-Broadway plays like Circle Mirror Transformation and The Dream of the Burning Boy, takes a star turn in The Humans as a crotchety father in need of some type of transformation. His character, Erik Blake, pontificates so frequently on the sanctity of marriage, the role of religion, and the importance of family values that it should come as little surprise when the family learns he has devastatingly failed to uphold the moral code he champions.
Jayne Houdyshell (whom I will always remember as the hilarious lead in the off-Broadway musical adaptation of Coraline) plays Erik's wife, Deirdre. She constantly annoys her two adult daughters, but with such kind-heartedness that it is impossible to stay angry with her for long, especially after the audience learns what she has been going through recently.
Hanging over the entire play is the specter of 9/11. Not only is the apartment in the shadow of the fallen towers, but as we learn, the characters have a very personal connection to that catastrophic event.
If you want to see The Humans, it's playing at the Helen Hayes Theatre. You can get more information here:
The Humans on Broadway
This tale of a dysfunctional family come together to share a meal most noticeably resembles August: Osage County by Tracy Letts. Similar to that play, it features a multi-story set with lots of nooks where characters can have semi-private conversations while the rest of the family is still onstage.
The play makes extensive use of sound and lighting, as bulbs burn out, LED lanterns emerge, and mysterious noises come from outside a duplex apartment in Chinatown. What is going on out there? Are some strange, ominous forces threatening the humans inside? Or are the humans the most frightening monsters of all?
Actor Reed Birney, who created a name for himself in off-Broadway plays like Circle Mirror Transformation and The Dream of the Burning Boy, takes a star turn in The Humans as a crotchety father in need of some type of transformation. His character, Erik Blake, pontificates so frequently on the sanctity of marriage, the role of religion, and the importance of family values that it should come as little surprise when the family learns he has devastatingly failed to uphold the moral code he champions.
Jayne Houdyshell (whom I will always remember as the hilarious lead in the off-Broadway musical adaptation of Coraline) plays Erik's wife, Deirdre. She constantly annoys her two adult daughters, but with such kind-heartedness that it is impossible to stay angry with her for long, especially after the audience learns what she has been going through recently.
Hanging over the entire play is the specter of 9/11. Not only is the apartment in the shadow of the fallen towers, but as we learn, the characters have a very personal connection to that catastrophic event.
If you want to see The Humans, it's playing at the Helen Hayes Theatre. You can get more information here:
The Humans on Broadway
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