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.
Madwomen of the West
To paraphrase Chekhov, if a piñata is dangling from the ceiling as a show begins, should it not be swatted down in time for the final curtain? Well, in the case of Sandra Tsing Loh’s Madwomen of the West, the piñata is left intact, but the façades of its four characters are broken open to reveal some big secrets. Unfortunately, by the time these confidences are divulged, their importance has been overshadowed by the production’s self-referential gimmickry. It is the handicraft of Brecht, not Chekhov, that is at work here as the audience is constantly taken out of the world of the play with the performers speaking directly to them, or reciting stage directions aloud, or dropping character altogether.


