Apologia NYC Reviews and Tickets

76%
(229 Reviews)
Positive
78%
Mixed
19%
Negative
3%
Members say
Great acting, Absorbing, Intelligent, Thought-provoking, Intense

About the Show

Direct from London, this new, biting play makes its New York debut with Stockard Channing as a woman facing the repercussions of her past.

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Member Reviews (229)

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928 Reviews | 379 Followers
89
Absorbing, Great acting, Great writing, Intense, Thought-provoking

See it if You like wordy character driven plot lines with lots of long monologues delivered by exceptional actors.

Don't see it if You’re looking for lots of action or a story that wraps everything up in a tidy little way for you at the end. This one makes you think.

942 Reviews | 225 Followers
66
Banal, Cliched, Disappointing, Slow

See it if If you want a show that is slow, unmeaning full and banal. A badly directed play.

Don't see it if If you don't like a well written, consistent play that is poorly directed.

703 Reviews | 213 Followers
80
Absorbing, Funny, Great acting, Sad, Intelligent

See it if First act is full of wit and humor, with interesting characters, animated discussion, and serious themes. Ms. Channing is terrific.

Don't see it if Second act is preachy and sobby. The creative energy was gone, replaced by melancholy and simplicity. Act one 90, act two 70.

677 Reviews | 150 Followers
78
Absorbing, Great acting, Unexpected, Diffuse, Rewarding

See it if you're a Stockard Channing fan or interested in new plays, enjoy complex family relationships, original linear plot, well-directed

Don't see it if don't like family dramas, esp. one set in England, have absent mother issues, plots that take their time getting started Read more

687 Reviews | 113 Followers
74
Disappointing, Resonant, Slow, Banal, Thought-provoking

See it if Campbell's brittle drama about feminist pursueing career vs family Channing's layered performance keeps plot contrivances at bay Fine Dancy

Don't see it if Plot drags in characters/situations for Channing's Kristen to mock or demonized w/little effect Little effort made to understand motives

612 Reviews | 269 Followers
75
Hearing the formidable stockard channing, as pioneering feminist art historian, explain the genius of giotto is a high point; rest of play not at that level

See it if Channing dominates stage w monstrous self-absorption; witness devastating neglect faced by her children but also price she pd 4 her career

Don't see it if flabby 1st Act; irrelevant characters; failure 2 provide effective foil 2 Channing's raging humanism thru religious character missed oppty

567 Reviews | 147 Followers
93
Absorbing, Great acting, Exquisite, Great writing, Intelligent

See it if A woman of lettres sacrifices for causes larger than self and is dismayed when others do not. Sons resent being cast-offs. Terrific cast.

Don't see it if At its core, it's just another tale of mummy-can't-have-it-all. Dimly-lit second act. Read more

481 Reviews | 317 Followers
64
Slow, I'm baffled by this play. what is the point?, Indulgent

See it if You want to see these actors. However, I was really disappointed by the play. Nice set. I liked the first scene in the second act.

Don't see it if The actors seemed awkward and forced but I think that was the play. It just didn't make much sense, they didn't seem like real people at all Read more

Critic Reviews (29)

The New York Times
October 16th, 2018

“Ms. Channing's performance in 'Apologia'...goes some distance in disguising the labored exposition of a work that never quite achieves a natural flow or moves you as much as it should...The layers of Channing’s interpretation, with its core of lacerating anguish, are more intriguing than the plot that builds to an anticlimactic reveal...The dialogue only rarely feels organic...But it is Ms. Channing’s complex, contradictory Kristin who keeps us thinking long after the play is over”
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Time Out New York
October 17th, 2018

"Channing manages to make a compellingly conflicted figure, but the play doesn’t give her a lot to work with. It creaks with contrivances and clunky, expositional dialogue...Aukin doesn’t seem to know how to handle the play’s schlock factor...The play means to examine the costs paid by women who open their own doors...But it’s not grounded deeply enough in reality to tell us much about those women—except to remind us of the pleasure we still seem to take in making them cry.”
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New York Magazine / Vulture
October 16th, 2018

“With plays like ‘Apologia’, the temptation is to get into the weeds, enumerating every little thing about them that feels inauthentic, manipulative, half-baked, or clichéd — when in fact all those things are just cracks in the plaster. The thing is foundationally unsound. Its very premise betrays a kind of smug cluelessness. It’s less a drama of ideas than it is a collection of cheap, self-satisfied notions, in which several talented actors are being asked to invest their time."
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The Hollywood Reporter
October 16th, 2018

“Aukin has put together an elegant production with a uniformly fine cast, and the writing is laced with poignant Chekhovian shadings. But thematically, we've been down this road many times before, with more penetrating insights...Miller is a juicy role for the inimitably acerbic Channing. Or she would be if the complex character hadn't been shortchanged by the playwright...The writing makes it tough to care about her...This 10-year-old play still needs work.”
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The Observer
October 17th, 2018

“Dominated by Channing’s tremendous energy and well-acted by a gifted supporting cast, but directed with a somewhat uneasy focus...the play is ultimately about a woman with ideas, opinions and insights who established her independence before it was fashionable—and the high personal price she paid for doing so. The toll celebrity has taken on Kristin, who chose success in a male-dominated society over the needs of her own children, has a relevance today that stings.”
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Deadline
October 16th, 2018

“'Apologia' could use some bolstering...Channing is a fascination, even when she seems a bit out of step with the production’s staccato rhythms. Dancy plays identical blood relations...and gets away with it as much as anyone can in the gimmicky situation. If the doublemint ruse in ‘Apologia’ feels less than satisfying, it’s perhaps to do with a dinner party where one serving of mom-blame would have been plenty. Two feels a bit of a gorge.”
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Theatermania
October 16th, 2018

“Channing gives a powerful performance...Unfortunately, ‘Apologia’ doesn't reveal enough of its characters' lives for us to be invested...Aukin tries to ignite Campbell's sometimes stilted dialogue...but the action never really gets above a smolder...In the end, ‘Apologia’ has some tasty morsels to offer about the need to forgive ourselves rather than coming up with arguments to justify our shortcomings, but the play never gets warm enough to cook up a satisfying meal.”
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Lighting & Sound America
October 24th, 2018

“The disastrous first-act meal scene is slickly written; the dialogue is loaded with amusing barbs...But there's something a little calculated and mechanical about it, a sense that a series of opposing temperaments have been pitted too obviously against...But the cast, under Aukin's brisk, often acute direction, offers solid support...’Apologia’ sometimes seems assembled -- admittedly cleverly -- out of a kit of devices, but Kristin, especially in Channing's hands, is the real thing.”
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