Children of a Lesser God
Closed 2h 35m
Children of a Lesser God

Children of a Lesser God NYC Reviews and Tickets

(779 Ratings)
Members say
Great acting, Thought-provoking, Absorbing, Intelligent, Dated

About the Show

The Tony-winning drama about the romance between a sensitive but spirited deaf woman and a devoted (and hearing) teacher returns to Broadway with Joshua Jackson ('The Affair'), Lauren Ridloff, and Anthony Edwards ('ER').

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Show-Score Member Reviews (779)

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182 Reviews | 17 Followers
Slow, Thought-provoking, Disappointing, Excruciating

See it if You are down with inconsistent acting. Some performers where way better than others.

Don't see it if You don't like slow shows. You don't want to hear one person speak. Almost the entire story as the other actors sign. You like good staging

52 Reviews | 17 Followers
Resonant, Thought-provoking, Slow, Intense, Disappointing

See it if you're interested in stories of how people with disabilities interact with the world

Don't see it if you don't like lots of dialogue

54 Reviews | 8 Followers
Great acting, Ambitious, Overrated

See it if you would like to learn about the world of the deaf and explore the complexities of a minority group.

Don't see it if prefer a well balanced play with more insightful musings on a relevant topic.

81 Reviews | 14 Followers
Disappointing, Slow, Thought-provoking

See it if You are extremely fascinated by issues deaf people face. You want to see Anthony Edwards. He was great but I wish his part were bigger.

Don't see it if You want to be entertained. It’s very slow. Character development was lacking and I didn’t quite understand how relationships developed.

340 Reviews | 53 Followers
Great writing, Disappointing, Intelligent

See it if You didn't see the original. The script is great but this production is poor.

Don't see it if Want an intense drama or expect to see Anthony Edwards for more than a few minutes.

311 Reviews | 494 Followers
Dated, Great acting, Thought-provoking

See it if you're intrigued by plays exploring deaf culture. Lauren Ridloff is incredible, in a breakout performance.

Don't see it if // the play was written in the 70s and feels slightly dated but still seems incredibly relevant to today.

142 Reviews | 22 Followers
Confusing, Disappointing, Great acting, Romantic, Thought-provoking

See it if You enjoy thought provoking shows, have an interest in story lines about people with disabilities, focusing on deafness.

Don't see it if You want an easy to understand plot, elaborate staging or a musical. Read more

113 Reviews | 15 Followers
Disappointing, Cliched, Overrated, Slow

See it if You don’t mind seeing a mediocre show that doesn’t compare to the movie

Don't see it if You expect great acting, interesting sets and characters you care about. Subtitles distracting & often unnecessary.

Critic Reviews (46)

The New York Times
April 11th, 2018

"A knockout professional debut performance by Ridloff...A lovely performance by Jackson...Leon’s direction seems random...The play falters badly in its second act...Eventually you realize that Mr. Medoff simply did not have the wherewithal to dramatize the fundamental conflict any further because James is his hero but Sarah is right. The play, written when it was, can’t quite support that — not because of its deaf politics, but because of its sexual politics."
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Time Out New York
April 11th, 2018

"Maddeningly heavy-handed...Some of the problems are structural...But a larger problem is tonal. To today's audiences, James's relationship with Sarah is manifestly jerkish from the get-go...A different production might have hidden these failings or even jujitsu-ed them into virtues. But Leon's revival, broad and ungainly, exacerbates them...Ridloff is the only thing in the play that seems to have any inner life at all. She is a wonder; the rest is mostly unspeakable."
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New York Magazine / Vulture
April 11th, 2018

"There are two intense scenes...Both are performed with instinctive brilliance by acting rookie Ridloff, Broadway's most accessible show ever for the hearing-impaired is at times inaccessible or awkward for the hearing - which is maybe the most thematically resonant technical flaw ever to afflict a play...Leon’s direction leans into the play’s age as well as its loose plotting...Logistical concerns vanish in the play's best moments."
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The Wall Street Journal
April 12th, 2018

"'Children' is too dramatically creaky to survive its own transformation into a period piece. Today we want to see inside the deaf culture at whose existence Medoff hints, instead of merely looking at it through a window...The only other thing the play has to offer is a chance for a virtuoso deaf actor to strut her stuff...Ridloff's performance is stupendously bold and expressive—she signs like a ballerina dances—and I can’t imagine this will be the last that Broadway sees of her."
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April 11th, 2018

"Lives on now mostly as a well-constructed if somewhat dated relationship drama and as a showcase for its two primary, argument-siding characters...Sarah's stance, hardly the revelation it once was, becomes clear at the play’s emotional peak...It is entirely to the credit of Ridloff's powerhouse performance that the moment still hits as hard as it does...Jackson’s performance can seem broad, pitched too big, but the exaggeration makes as James' importance as translator comes into focus."
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New York Daily News
April 11th, 2018

"Only fitfully engaging and stirring...Medoff's script can be simplistic and preachy. And creepy...'Children of a Lesser God' is, ultimately, about connecting. Leon's stark and chilly production actually doesn't nurture intimacy...Ridloff, a wonderfully expressive actress, provides the show with its vibrant beating heart. She connects with and conveys Sarah's anger, desire, vulnerability and independent spirit - and leaves a lasting impression."
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April 11th, 2018

"Ridloff is a stunning performer...Conflict between the speaking world and the silent world was portrayed more forcefully in the original production...Lacking that solid thematic foundation, Medoff's play deflates into just another romantic drama about mismatched lovers...The writer doesn’t seem to have any special aptitude for the language of love, and his efforts to lighten it up are embarrassing...Jackson doesn’t give off much heat for a lover with a burning heart."
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The Hollywood Reporter
April 11th, 2018

"The production tips the balance away from the author's sensitive handling of deaf politics toward the bland reaffirmation that the heart is a more powerful communication tool than the human voice...Leon's sluggish production does eventually gather some steam...Those basic rights of autonomy, respect and visibility should still resonate today, perhaps more than ever...And yet they are strangely muffled by Leon's insipid treatment of the love story."
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