Everybody NYC Reviews and Tickets
Show-Score Member Reviews (176)
See it if you're interested in seeing a new take on a classic, you like morality plays, or don't mind not knowing who's playing which part.
Don't see it if you dislike audience interaction, morality plays or presentational shows.
See it if you appreciate the old being made new again. It really is great writing.
Don't see it if you like big productions that spell everything out for you.
See it if you are curious about how an ancient morality play can work in the 21st century
Don't see it if you aren't interested in a meta-theatrical variation on an old theme Read more
See it if you want to see something different; some heavy themes but done in a playful way.
Don't see it if you prefer traditional plays; you don't like to go to the theater to be reminded of death. Read more
See it if After mediocre Times review I was pleasantly surprised how much I enjoyed it interesting plot and staging
Don't see it if If looking for conventional play and staging
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.
See it if you like BJJ; you want to see an experimental, challenging reworking of a very old theme: how to live while facing death.
Don't see it if you like only traditional, predictable theater. The staging is unusual and mostly very successful, but the show is overlong.
See it if you like actors coming from audience, Marylouise Burke, good ensemble acting, modern morality play
Don't see it if breaking the 4th wall bothers you, you don't like actors in audience/house lights on Read more
Critic Reviews (37)
"I did find the play less successful in some places than in others. The production is very meta-theatrical, with lots of in-jokes and seemingly off-the-cuff humor...All of the actors were really terrific and put in quite physical performances as well as smart and funny ones. 'Everybody' can be riotously funny at times and it can also be very heady and esoteric...I think Branden Jacobs-Jenkins has a lot of things he wants to say and I think he's worth listening to."
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“As ‘Everybody,’ Branden Jacobs-Jenkins’ playful, jazzed up politically correct and quite as politically incorrect theatrical version, it remains a concoction of glancing modern morality1 brilliantly staged by director Lila Neugebauer...Neugebauer runs with the playwright’s profoundly wonderful brainstorm…You have to see it...My dears, you have much to look forward to.”1
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"'Everybody' is an absolute delight, which is something said of 'Everyman' by nobody ever...Jacobs-Jenkins’ love of bold theatricality is amply evident here, including some quite marvelous visual wizardry in Lila Neugebauer’s staging...Raucous, edgy humor abounds in 'Everybody,' but what’s more impressive is that some of the somber, introspective heart of the original play is preserved. On the other hand, what’s lost here that is central to 'Everyman' is a sense of shock and awe."
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“This production is updated and bursts at the seams with innovative staging, salty language, and plenty of humor…An old classic, 'Everyman,' has been twisted, spun, and deconstructed into the mesmerizing ‘Everybody.’ Through language, casting, and director Lila Neugebauer’s imaginative use of theater space, Jacobs-Jenkins' new adaptation meditates, with a peculiarly modern wit, on friendship, meaning, and mortality.”
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"Neugebauer’s direction has truly raised the bar. Her broad strokes are only exceeded by her eye for effective detail...This skillful ensemble exceeds any expectation of this wild concept...The timing of their dialogue and the depth of their connections are masterful, especially given the fact that they have each memorized practically the entire script...It is unique and profound, and brilliantly achieves the purpose of the historic morality play for a modern day audience."
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