Though advertised as “a new play,” Matthew Freeman’s The Ask, now at Theater 555, premiered in New York City more than two years ago. In this drama of ideas, two strong-willed strangers clash in a mating dance essential to American charities: the solicitation of wealthy donors by career fund-raisers. Back in 2024, The Ask--expertly directed by Jessi D. Hill--packed the same wallop it does now (and even more, thanks to the superb performance of Betsy Aidem as Greta); but the original run was brief and so far Off-Broadway that it failed to create the splash that might have been expected. Now, in a more prominent venue, again directed by Hill, this substantial intermissionless drama is likely to make waves and, in due course, be seen around the country.
As a portrait of two relationships imploding when the couples are confined together, Kate Vozella’s Machine Learning provides 90 minutes of fiercely acted, propulsive drama. As a portrait of AI’s expanding influence in our lives, however, it underwhelms.
Life for blacks in the antebellum South, during the Civil War, and for generations thereafter consisted of a confluence of injustices at the intersection of class, race, and gender. Todrick Hall's complex new musical Midnight grapples with those injustices by reimagining what it might be like if the oppressors became the oppressed.
The producers of Copperfield! have added the subtitle The New Musical, presumably to alert anyone who saw the notorious 1981 flop Copperfield, which ran only 39 performances, that this show is not a revival of that one, which New York Times critic Frank Rich described as “the kind of musical that sends you out of the theater humming every score other than the one you’ve just heard.” On the contrary, the new Copperfield! is an energetic and melodious delight. If Dickens at Christmastime is a tradition, and A Christmas Carol is starting to feel shopworn, Copperfield! is an ideal substitute.
In Degenerates, playwright Else Went explores the world of incels—typically heterosexual males who cannot form romantic or sexual relationships with women for a variety of reasons. Went’s script immerses the audience in incel and online slang, such as redpill (the belief in an alleged truth about women and the sexual marketplace) and weeb (a fan of Japanese popular culture, particularly anime) as it focuses on some of them, frustrated by loneliness and desiring unconditional love. The incels’ world turns out to be riveting theater.
Cicely Hamilton’s Phyl, a 1911 comedy that challenges the constraints imposed on women of the early suffragist era, is receiving its New York premiere from the Mint Theater Company. This rarely seen work by Hamilton—a leading British women’s rights activist—introduces a spirited heroine determined to break free from isolation and convention. Under Britt Berke’s direction, Phyl reveals the quiet radicalism of its heroine’s determination to pursue the life she desires.
Neurosis, a chamber musical in the small space at DR2, is full of small pleasures. It’s the kind of show that doesn’t “kill” but supplies grins and smiles generously. First, there’s the central conceit: a gangly would-be magician named Frank (Kevin Zak) is accompanied everywhere by his sidekick (Brennan Caldwell). Initially, as they brush their teeth together and advise each other on whether they’re presentable, one suspects the two are a gay couple. But Caldwell, it turns out, is the embodiment of Frank’s Neurosis. He nags at Frank and keeps him on edge, unsure of himself, as psychological afflictions can do.
