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Photo: Sara Krulwich

OFF-BROADWAY REVIEW: Kid Victory

February 22, 2017: Every time you look at a stage these days, it seems as if yet another sensitive plant has sprouted there, glowing with eager crushability. You know the types — those socially challenged, thin-skinned, easily rattled adolescents like the self-appointed, agoraphobic detective of the Tony-winning The Curious Incident of the Dog in the Night-Time or the stammering, fabulist high school student in the hit musical Dear Evan Hansen.

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MOST RECENT REVIEWS

BROADWAY REVIEW: Sunday In the Park with George (2017)

February 23, 2017: A superb revival of Stephen Sondheim and James Lapine’s 1984 masterpiece “Sunday in the Park with George,” starring Jake Gyllenhaal and Annaleigh Ashford, has brought back to life the 113-year-old Hudson Theatre in Times Square.

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OFF-BROADWAY REVIEW: Everybody

February 21, 2017: Let’s start with a spoiler, the ultimate spoiler: Everybody dies. That’s right, the title character of Branden Jacobs-Jenkins’s new play, Everybody, dies at the end. Of course, this is to be expected since Everybody is everybody, and everybody — as you surely know, whether you’ve come to terms with the idea or not — is mortal.

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OFF-BROADWAY REVIEW: On the Exhale

February 19, 2017: Marin Ireland is a delicate conduit for raw emotions. Watching her deliver the hourlong monologue On the Exhale, Martín Zimmerman’s carefully wrought study of a mother undone by loss, you half expect her to crack and shatter before your eyes. With her pale skin and fine, Pre-Raphaelite features, this actress hardly seems built for the depths of anguish she delivers with such regularity and expertise on New York stages. Yet it’s the illusion she conveys of transparency — as if she were indeed made of spun glass — that lets us perceive so clearly a blinding darkness within.

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OFF-BROADWAY REVIEW: Escaped Alone

February 16, 2017: Fear festers, burrows and blooms in Caryl Churchill’s Escaped Alone, a short and wondrous play that plumbs the depths of 21st-century terrors, large and small. These range from the eccentrically personal (as in being uncomfortable around cats) to the sweepingly historic — as in, well, the end of the world as we know it. Now if you yourself are in an apprehensive state of mind these days (and I’d wager, somehow, that you are), you might think a show about what scares people would be the last thing you’d want as entertainment. Yet this British import, which runs through Feb. 26 at the Harvey Theater of the Brooklyn Academy of Music, has the effect of a restorative tonic, and you may find a new bounce in your step as you leave it.

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OFF-BROADWAY REVIEW: Evening at the Talk House

February 16, 2017: If you happen to hang out at Broadway watering holes like Joe Allen’s, you’ve probably overheard conversations much like those that babble through Evening at the Talk House, Wallace Shawn’s anxious excavation of moral cowardice in a fascist age, which opened on Thursday night at the Pershing Square Signature Center.

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