Four Solo Shows Showcase the Range of Approaches and Vulnerability on New York Stages
Over the past two years, the theater industry in New York has faced unprecedented challenges due to the pandemic. As the industry slowly emerges from the shutdown, solo performances have taken center stage, providing a cost-effective and accessible option for both producers and audiences. This fall, Off Broadway has seen a surge in solo shows, with four productions offering unique perspectives on the human experience. From all-out vulnerability to evasive storytelling, these shows demonstrate the power of baring one’s inner thoughts and fears on stage.
A Good Day to Me Not to You:
At the Connelly Theater in the East Village, “A Good Day to Me Not to You” captivates audiences with its wry and candid confessional style. Written and performed by Lameece Issaq, the play follows a middle-aged New Yorker navigating a series of setbacks. From her surprise case of genital warts to her struggles with vertigo and unemployment, Issaq’s character finds solace in a convent boardinghouse named after St. Agnes, the patron saint of virgins and sexual abuse survivors. With a dynamic set and lighting design, the play immerses the audience in the protagonist’s journey of self-discovery.
Sad Boys in Harpy Land:
Meanwhile, at Playwrights Horizons in Midtown Manhattan, “Sad Boys in Harpy Land” takes a different approach to solo performance. This production delves into the psyche of the performer, dissecting their inner thoughts and fears as if the stage were an operating table. Through vulnerability and introspection, the audience is invited to explore themes of grief, death, and the apocalypse. The play offers a raw and unfiltered look into the human experience, leaving a lasting impact on those who witness it.
School Pictures and Amusements:
Also at Playwrights Horizons, “School Pictures” and “Amusements” present a contrasting style of solo performance. These shows feature performers who maintain a distance from their own stories, directing the audience’s attention elsewhere. While this approach can be distracting and evasive at times, it offers a unique perspective on storytelling. Through the use of inventive devices and narrative techniques, these productions challenge traditional notions of solo performance, pushing boundaries and engaging the audience in unexpected ways.
Conclusion:
The resurgence of solo performances in New York’s theater scene has brought forth a diverse range of shows, each offering a unique exploration of the human condition. From the all-out vulnerability of “A Good Day to Me Not to You” to the introspective journey of “Sad Boys in Harpy Land,” these productions captivate audiences with their honesty and authenticity. Meanwhile, “School Pictures” and “Amusements” challenge traditional storytelling conventions, pushing the boundaries of the solo performance genre. As the theater industry continues to recover, these four shows serve as a testament to the resilience and creativity of artists, reminding us of the power of theater to connect, inspire, and provoke thought.
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