Off-Broadway Review

‘Collision’ Runs Into Its Own Brick Wall

Lyle Kessler’s new play “Collision,” from the Amoralists at Rattlestick Playwrights Theater, starts strongly as a black comedy about American rage but devolves into dank melodrama.

‘Bethany’ Aims to Represent America

America Ferrera dominates the stage in Laura Marks’ “Bethany,” a dark comedy of social commentary at Women’s Project Theater that poses intriguing questions but never quite convinces.

'The Suit' Casts an Unintended Chill

A misogynistic premise makes “The Suit,” Peter Brook’s otherwise well-crafted adaptation of a South African short story, at BAM, into a discordant theatrical experience.

A Winning 'Yeomen of the Guard' Comes to City Center

The singing in the New York Gilbert and Sullivan Players’ “The Yeomen of the Guard,” at New York City Center, may be its greatest asset, but there is also plenty of charm and humor.

'Not by Bread Alone' Shares the Everyday Experiences of the Deaf-Blind

Nalaga’at Theater’s sublime “Not by Bread Alone,” performed by deaf-blind actors, reveals the power of theater to enrich our understanding of humans as innately social beings.

'Working on A Special Day' Not so Special

The Play Company and Por Piedad Teatro’s stage version of the 1977 Oscar-nominated film “A Special Day,” starring Sophia Loren and Marco Mastroianni, is just an acting exercise.

'Minsk, 2011: A Reply to Kathy Acker' Paints a Damning Portrait

Belarus Free Theatre paints a devastating portrait of a city scarred by a totalitarian regime in “Minsk, 2011: A Reply to Kathy Acker,” an electrifying Under the Radar entry.

'Midsummer [a play with songs]' Is Too Meta for Its Own Good

David Greig’s “Midsummer [a play with songs],” from Edinburgh’s Traverse Theatre, wastes impressive theatrical resources on two losers slouching toward an uncertain relationship.

‘The Fig Leaves Are Falling’ and There’s Nothing Underneath

It’s hard to fathom what adapter-director Ben West, of UnsungMusicalsCo., is up to in this drastically revised version of the 1969 Broadway flop “The Fig Leaves Are Falling.”

Intimate 'Airswimming' Is Heartfelt and Endearing

Charlotte Jones’ tricky 1997 two-character play, “Airswimming,” at the Irish Repertory Theatre, is a small but sparkling gem that gleams with charm, anger, comedy, and sadness.