A Look at Four Off-Broadway Solo Shows and Their Unique Approaches to the Form
Over the past two years, New York’s theater scene has seen a surge in solo performances tackling themes of grief, death, and the apocalypse. These one-person shows have become a popular choice for producers, offering a cost-effective and manageable option in an industry still recovering from the pandemic. This fall, four solo shows running Off Broadway showcase the diverse approaches to the form, proving that baring one’s inner thoughts and fears can be a rewarding experience for both performers and audiences.
“A Good Day to Me Not to You” and “Sad Boys in Harpy Land”: Embracing Vulnerability
In “A Good Day to Me Not to You,” currently playing at the Connelly Theater in the East Village, writer and performer Lameece Issaq takes audiences on a journey of wryly candid confessions. The middle-aged narrator reveals intimate details from the start, sharing her surprise case of genital warts that had been dormant for the past decade. With a mordant sense of humor, she navigates through a series of life’s downswings, from quitting orthodontics school due to vertigo to being fired from a dental lab. Issaq’s performance explores vulnerability with unapologetic honesty, inviting the audience to connect with her character’s struggles.
Similarly, “Sad Boys in Harpy Land,” staged at Playwrights Horizons in Midtown Manhattan, delves into the depths of the human psyche. This solo show, created and performed by an unnamed artist, presents an all-out vulnerability that dissects the inner thoughts and fears of the performer. Through a raw exploration of emotions, the audience is taken on a journey of self-discovery and introspection, leaving no stone unturned.
“School Pictures” and “Amusements”: Distance and Distraction
Contrasting the previous shows, “School Pictures” and “Amusements,” also playing at Playwrights Horizons, take a different approach to the solo performance format. These shows feature performers who hold themselves at a distance, directing the audience’s attention elsewhere. However, they employ devices that can be both distracting and evasive.
In “School Pictures,” the performer uses various props and multimedia elements to create a sense of detachment. While this technique may add an extra layer of complexity to the performance, it can also create a barrier between the audience and the true essence of the show. Similarly, “Amusements” incorporates playful elements and interactive moments, which can sometimes overshadow the deeper themes explored in the performance. While these shows offer unique experiences, they may not fully embrace the power of vulnerability as seen in the other solo performances.
Conclusion:
The rise of solo shows in New York’s theater scene showcases the power of vulnerability and introspection. From the unapologetic honesty of “A Good Day to Me Not to You” to the raw exploration in “Sad Boys in Harpy Land,” these performances offer audiences an intimate connection with the performers. However, the contrasting approaches of “School Pictures” and “Amusements” demonstrate that distance and distraction can hinder the full impact of solo performances. As the theater industry continues to navigate the post-pandemic landscape, solo shows provide a unique and accessible form of storytelling that allows performers and audiences to explore the depths of the human experience.
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