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Arlington NYC Reviews and Tickets

(61 Reviews)
Members say
Confusing, Thought-provoking, Ambitious, Absorbing, Edgy

About the Show

St. Ann’s Warehouse presents an avant-garde, multi-media work by Tony winner Enda Walsh that conjures a strange and tender love story set in a terrifying world.

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Member Reviews (61)

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Confusing, Absorbing, Relevant, Disturbing, Great acting

See it if You like dystopian ambiguous drama. It's certainly good for conversations about what it was you just saw!

Don't see it if You want a clear story line or any sort of resolution.

Confusing, Overrated, Dizzying, Disappointing

See it if nice sets, nice dancing but...

Don't see it if not to my taste as quite confusing

Cerebral, Emotional, Confusing, Thought-provoking, Great acting

See it if you enjoy avant guard theater with enigmatic meaning; extraordinary acting and dancing; tugs on your heartstrings.

Don't see it if you need to read the reviews to almost understand the story; get bored when meaning is just beyond your reach.

Boring, Confusing, Disappointing, Indulgent, Overrated

See it if you enjoy plays where a lot of information is held back by the playwright. It will not be easy for the viewer to come to any conclusions.

Don't see it if you like everything spelled out for you. Read more

Thought-provoking, Haunting, Disturbing, Intelligent/absorbing, Edgy

See it if want theater to keep you guessing, are ok w little plot/unexplained worlds. This is a character study in a dystopian future. Not easy.

Don't see it if Don't like dark, experimental/edgy stuff. It's confounding, intense, melancholy both in script & production. Read the Brit reviews before. Read more

Great staging, Slow, Ambitious

See it if you're open-minded and want to see a well-staged show about isolation and love with a lot of movement and dance

Don't see it if sitting through some long dance scenes in between the dialogue-driven scenes sounds torturous to you

Haunting, must see, beautiful integration of sound, words, and movement

See it if you want to think. want to feel. want to see redemption and hope. To call it dystopian is accurate but ultimately untrue.

Don't see it if You want a straight narrative which requires no interpretation, you want a light comedy. Read more

Confusing, Dizzying, Edgy, Ambitious, Thought-provoking

See it if you like dark Orwellian play with little dialogue; "experimental" works including dance; don't care about plot

Don't see it if don't like modern choreography (I do so deduct 10-15 points from score); plays about totalitarianism, isolation; don't like blackouts Read more

Critic Reviews (15)

The New York Times
May 10th, 2017

"A riveting fever dream of a play...Jolts the system through some of the most sophisticated visual and sound effects on display in New York...The subjects of these experiments are portrayed by Murphy, Doherty and O’Conor, in bravura performances...In the play’s final sequence, Walsh lets this entity explain itself...and I wish he hadn’t...As a whole, though, 'Arlington' is as creepy and compelling a vision of a blasted tomorrow as you’re going to find these days."
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Time Out New York
May 11th, 2017

"While there is frequently beauty in Walsh's works, there's also self-indulgence...Walsh is looking in the mirror, and he can't tear himself away. And when he directs, as he does here, we're fully in an environment of his devising, which only has one criterion: what's coolest...Taken in images, 'Arlington' is quite beautiful...Beckett and Sartre are clearly influences here, but Walsh hasn't got their bite. He's a sentimentalist, and a cheeseball one."
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May 9th, 2017

“A dystopian cocktail of theater, dance, and performance art that somehow still leaves you with the sweet taste of a love story…It's a testament to Walsh's talent for dialogue that we care so deeply about the connection between two strangers who have never met face-to-face...It's also a testament to Murphy and O'Conor's performances that they're able to nourish this subtle chemistry, as well as the charm and humor that Walsh embeds within such depraved circumstances."
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Lighting & Sound America
May 12th, 2017

"A fairly straightforward drama, if an enigmatic one...I fear that such vaguely conceived dystopias tend to be surprisingly uninteresting...'Arlington' is never boring, however, largely because of the extraordinarily committed performances by its three-person cast...A lot happens but what it all means is never very clear. Walsh asks the audience to infer too much, and his intentions remain thoroughly cloudy."
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Stage Buddy
May 16th, 2017

“Walsh binges himself on multiple loose theatrical forms and multi-media formats, all expertly done, but the clang made when they all come together can make more noise than sense. At times. At other times, the raw emotion is astonishing...Amidst hard times, the done thing in creativity is to visit dystopian isolation. There’s a sense that whatever Walsh is doing here is far less political than it is personal, giving him free rein."
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Exeunt Magazine
May 12th, 2017

"It’s hard to describe without trying to impose an interpretation, or see hints of '1984,' but we do so at the risk of reductivism. Walsh provides scant narrative from which to draw concepts like character, plot, theme, setting or meaning...Walsh manages to tap into both our nagging daily anxieties and our most conspiratorial fears. 'Arlington' looks and feels like that dream where familiar settings suddenly become menacing, for no identifiable reason, and we start running like hell."
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New York Theater
May 10th, 2017

“‘Arlington’ invests more attention on sensory stimulation than clarity or coherence…Walsh’s gift for dialogue shines through…For those theatergoers with a taste for avant-garde, multimedia performance art, ‘Arlington’ is well done. The two actors and the dancer are appealing and credible. The rock score is fast and furious. The design offers a near-constant barrage of in-your-face lighting changes, sound effects and projections.”
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The Wrap
May 10th, 2017

“Walsh withholds so much information – the time, the place, the relationship of the imprisoned Isla and her interrogator — that chronic disorientation is the immediate and arguably appropriate response to ‘Arlington’…The story of ‘Arlington’ becomes clear, not because of Walsh’s powers as a storyteller. It’s that he borrows so much from other sources.”
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The Huffington Post
May 11th, 2017

"So well acted and presented that it engages you emotionally almost against its better judgement...It’s an enigmatic, dystopian tale delivered with visual panache, an excellent sound design and three performances that breathe life into its mysterious story. If Walsh hadn’t shied away from the compelling plot he put into motion, it might have achieved greatness...Walsh sets up a marvelous dynamic. But the story we want mostly takes place in between the scenes we see."
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Financial Times (UK)
May 10th, 2017

“With the frantic yet ponderous ‘Arlington,’ Walsh’s confinement obsession has entirely run out of theatrical fuel. That dearth of new ideas is apparent from the director-playwright’s reliance on gimmicks…The only novelty is that Walsh attempts to blend his usual relentless comic style with a portentous dose of dystopian seriousness...The performers do their best to keep up with Walsh’s whimsy…But the material is so repetitive and so half-formed that their efforts are wasted here."
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Off Off Online
May 11th, 2017

"The play is no less defeatist than Walsh’s previous works, but for the first time there is a glimmer of resistance...'Arlington' is the type of play that invites a number of interpretations, all of which are right, and few of which can be supported with evidence from the stage...There’s no denying the play’s morbid charm. Charlie Murphy’s Isla is instantly endearing...O’Conor is a heartbreaking deer in the headlights, doing his best to remain human in a dehumanized wasteland."
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New York Irish Arts
May 17th, 2017

“I didn’t enjoy ‘Arlington.’ I don’t think you’re supposed to…I was ready to write it off. But the play keeps coming back to me…Walsh’s dystopian fantasy feels like a waking nightmare. It’s not plausible, but it’s not ridiculous, either...It gives me the shivers…Charlie Murphy’s Isla is funny, practical and engaging…We’re left wondering what the Hell is going on for far too long...Weird isn’t always poetic...Plot matters...'Arlington' is 80 minutes of situation."
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The Guardian (UK)
July 19th, 2016
For a previous production

"A new form of theatre that includes drama, dance, music and visual art...I found 'Arlington' less fascinating for what it says than for the way it says it. Walsh is clearly out to demolish the distinction between drama and visual art...Walsh is also creating a theatre in which movement exists on an equal footing with text...When I’ve forgotten the ideas, I shall still recall Walsh’s boldness in weaving his closely textured poetic prose into a new form of category-defying theatre."
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The Stage (UK)
July 12th, 2016
For a previous production

"A tremendous exploration of the transcending of circumstance...Walsh – he also directs – and the creative team combine stunning effects with playful physicality: think Christopher Nolan meets Charlie Chaplin. There are neat tricks in Jamie Vartan’s set, with the design team making Isla’s room come alive. Jack Phelan provides some of the most stirring video work that’s been seen on an Irish stage and Emma Martin’s choreography is visceral."
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The Arts Review
February 14th, 2017
For a previous production

"A brave and thought-provoking production...The end result is a technical masterclass, with 'Arlington' delivering a technically tight and complex show, beautifully and brilliantly executed. Yet despite its embarrassment of riches, 'Arlington' isn't always as strong as its individual components...'Arlington' brings disparate elements together to riff and improvise around a structure, and more often than not they hit the mark...An utterly unforgettable experience."
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