Everybody
Closed 1h 40m
Everybody
78

Everybody NYC Reviews and Tickets

78%
(176 Reviews)
Positive
81%
Mixed
15%
Negative
4%
Members say
Clever, Thought-provoking, Ambitious, Great acting, Intelligent

About the Show

Signature Theatre presents the world premiere of Obie winner Branden Jacobs-Jenkins' new drama, a modern riff on one of the oldest plays in the English language.

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Member Reviews (176)

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703 Reviews | 213 Followers
80
Delightful, Quirky, Clever, Funny, Refreshing

See it if Medieval morality play redone as a 4th-wall breaking comedy. Questions about how death gives meaning to life are presented brightly.

Don't see it if You would not enjoy characters that represent abstract ideas. You want something deeper. This is a light fun time.

677 Reviews | 150 Followers
76
Ambitious, Confusing, Dizzying, Edgy, Quirky

See it if you follow the playwright, curious how the morality play "Everyman" is adapted for modern audiences, seeing actors switch roles each night

Don't see it if you expect a lot of meat in your story, have forgotten a lot about "Everyman," not interested in archetype characters,

don
506 Reviews | 1001 Followers
88
Absorbing, Resonant

See it if you want to see a new version re:" the meaning of life" There are some nice lighting effects and set design.

Don't see it if if you wish to avoid a dark, dark play fear of death fear of the unknown etc. Note; playbills distributed after the performance

474 Reviews | 714 Followers
91
Great writing, Profound, Dizzying, Immersive, Existential

See it if you think you've seen it all. You've likely never seen a show quite like this. The method of storytelling is fresh and not formulaic.

Don't see it if you don't like to be preached to (heavy moral here about how to live life) or have a bad neck (the action happens all around you). Read more

465 Reviews | 256 Followers
5
Boring, Overlong, Disappointing, Excruciating, Poor writing

See it if you want to see a Playwriting 101 project (that should have received an "F") given a full-blown production.

Don't see it if you have admired some of Jacobs-Jenkins past work like "An Octoroon," or "Gloria." Read more

449 Reviews | 115 Followers
65
Clever, Great staging, Refreshing, Ambitious, Quirky

See it if you want to see the latest effort of one of our most talented young playwrights and if you like gimmicks, e.g. random assignment of roles.

Don't see it if you don't like symbolic characters, meta-theatrical devices and crave something that appeals more to the emotions than the intellect. Read more

406 Reviews | 188 Followers
75
Great staging, Quirky, Thought-provoking, Great acting, Entertaining

See it if You like unique staging and a new take on a 15th century morality play about death. Do we have to die alone? Interesting characters appear.

Don't see it if You like formula drama and want your ancient plays performed as written. Do not like the lead actor chosen at random before the play begins. Read more

410 Reviews | 74 Followers
76
Ambitious, Clever, Entertaining, Great acting, Funny

See it if an unusual play based on 19th cent. mortality play, where man is in dialogue with actors playing concepts such as Friendship & Stuff

Don't see it if didactic although sometimes dialogues are often in humorous skit-like form but sometimes long-winded; you are expecting quality of Octoroon Read more

Critic Reviews (37)

The New York Times
February 21st, 2017

"Much painstaking rehearsal and synchronization of cues, for the tech crew as well as the performers, has gone into 'Everybody.' Yet it still feels like a work in progress, waiting to be sharpened into focus...Mr. Jacobs-Jenkins has made a virtue of his anxieties about identity in meta-theatrical plays that turn traditional forms inside out. Here, though, such self-consciousness curdles, despite some amusing 'who’s on first'-style circular dialogue on weighty subjects."
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Time Out New York
February 21st, 2017

"Apart from the cast’s charm and visual coups engineered by director Lila Neugebauer, the 100-minute experiment feels overlong and talky...Lord knows we don’t need a 'faithful' revival of this theatrical fossil, but I’m not sure this slangy, digressive gloss adds much substance. Stranded between cosmic earnestness and a collegiate urge to interrogate weird old texts, 'Everybody' has trouble holding onto a fixed identity."
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New York Magazine / Vulture
February 21st, 2017

“A terrific production…The play is trenchant, certainly, and often quite moving…By the end, despite Jacobs-Jenkins’s tricks and Neugebauer’s staging savvy ‘Everybody’ offers only its destabilization, and a decidedly weak-tea moral…That’s the problem with genre writing: Most of what can be said meaningfully in a form has already been said by those who needed to invent it. It’s not so much that Jacobs-Jenkins has crashed the party, fun as it may be; it’s that he’s arrived too late.”
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The Hollywood Reporter
February 21st, 2017

"Despite clever moments, 'Everybody' proves a trial to sit through...For all its artistic ambitions, 'Everybody' turns out to be confusing and disjointed, filled with stylistic diversions that more often than not prove underwhelming...The revolving casting feels like a gimmick and has some unfortunate results...Ultimately, 'Everybody' fails in its goal to make its themes universal and its centuries-old inspiration feel contemporary."
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Variety
February 21st, 2017

"Something is inevitably lost in adapting the material for a modern audience that has outgrown its fear and awe of hellfire and damnation. But the story retains some power on a human level...Except for a dramatic appearance by two giant skeletons working the side aisles of the house, no serious attempt has been made to adapt medieval theatrical conventions for modern times — although God herself knows that we mortals are just as selfish and greedy as our medieval ancestors."
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Deadline
February 28th, 2017

"This gifted and uncategorizable playwright’s spin on 'Everyman.' And spin it is, with the 10 actors being assigned roles according to a lottery near the beginning of each performance. They are great company. The show, on the other hand, is sophomoric nonsense and quickly wears out its welcome. My own mind wandered to Salzburg, where a new interpretation of the 15th-century fable is performed each summer under the hot hot Austrian sun."
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New York Daily News
February 22nd, 2017

"Five actors, of various race and gender, rotate in the part that is assigned in a pre-performance lottery. It’s an interesting gambit, though more so for the cast than theatergoers...Goofy glow-in-the-dark 'Jason and the Argonauts'-style skeletons energize the talky, sometimes trying show."
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Theatermania
February 21st, 2017

"At turns ambitious, witty, and a bit dull...Solid performances still don't fully rescue the play from its didactic origins. Dress a medieval morality play up in 21st-century slang and it comes off sounding like a skit for incoming college freshman performed by the resident assistants of purgatory...Nothing in director Lila Neugebauer's high-design production quite rises to the tone set in those austere first 10 minutes, but it is often very impressive."
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