See it if you are interested in themes of "crime and punishment", religion/ redemption, individuals vs. the system, questions of free will/ god's will
Don't see it if the above subjects are not your idea of a fun night out (although the play is highly entertaining/ quite funny) don't like coarse language. Read more
See it if you like dramas about people who do bad things and their motives.
Don't see it if you can't handle loud, intense acting.
See it if You are interested in how minds work, & recognize that the unthinkable comes from the serious thought process of someone who thinks.
Don't see it if Your view of the world is black and white, and does not allow for that which is beyond your experience.
See it if amazing intense acting by top notch cast
Don't see it if don't like shows with a prison theme or rough language
See it if you find explorations of God and faith stimulating and worthwhile, especially when presented in an unconventional way.
Don't see it if you’re easily offended by language or find prison scenes disturbing.
See it if you want a beautifully crafted show related to the criminal justice system: compelling characters and valid philosophical questions.
Don't see it if you don't want to be moved, think or are looking for a mindless--forget-the-next-day theater experience.
See it if you love great writing and brilliant acting - fascinating show.
Don't see it if you do not like dramas
See it if an intense play about the criminal justice system, faith and morality. great writing and staging, spectacular performances.
Don't see it if a lot of profanity. a lot of discussion of religion that may offend some or turn some off. more than a little moral equivalency.
"Not only has time done nothing to dim the topicality of 'A Train,' being given a brilliantly acted revival under Brokaw’s beautifully economical direction, but the intervening 17 years since its New York premiere have only brightened its intensity and focus. A deeply intelligent and highly philosophical work, Guirgis’ play asks provocative questions...Brokaw wisely keeps the focus on the actors and Guirgis’ words...As unsettling as the ride can be, this 'Train' is definitely worth boarding."
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“'Jesus'… is a powerful drama, laced with biting humor. It not only shines a blazing light on the judicial and correctional systems but embraces deeply thoughtful themes of masculinity, faith, guilt, remorse, and responsibility…These…quarrels…are…among the most fascinating and engrossing on any New York stage…Carvajal and Gathegi…combine outsized acting, vocal power and flexibility, physical vitality, and the ability to exhibit emotions on both grand and subtle scales.”
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"Foul-mouthed, funny, and intense and thought-provoking, the play is a promising start to Guirgis’ 2017-2018 residency at New York’s Signature Theatre...These are roles that call for a ferocity that is always watchable, but not always easy to listen to. If their fervor in this production escalates too often into unrestrained shouting, that’s on Mark Brokaw, a prolific director best-known for comedies and musicals."
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"The intense characterizations and riveting dialogue make 'Jesus Hopped the ‘A’ Train' a roller coaster of a ride...Both Carvajal and Gathegi excel in this verbal wordplay that is like watching a boxing match between heaven and hell. Brokaw directs this powerful and thought-provoking play with layered wit and depth...This is a must-see for anyone who loves terrific acting and commanding and forceful theatre."
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"Guirgis surprises us with street-savvy but elegant prose, smart, lacerating and viciously funny...Carvajal and Gathegi both give chilling and human performances, under the assured hand of director Mark Brokaw. They are well supported by Erick Betancourt, as a friendly guard; Stephanie DiMaggio, as a legal aid lawyer; and especially Ricardo Chavira as the brutal jailer...Guirgis is a tantalizing street poet.”
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"The black humor and marvelous urban patois are present, but are not well-blended with the long monologues and debates about morality, religion, and justice...The actors, particularly Carvajal and Gathegi, are marvelous...The direction by Mark Brokaw is assured and mostly succeeds in making the monologues flow into the rest of play. If you have a low tolerance for rough language or the description of violent events, you might be uncomfortable."
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"The play is not an activist exposé of the penal system as much as a searing journey into the battle for the soul of humanity...Without getting pedantic or simplistic, Pulitzer Prize winner Guirgis explores many basic dichotomies...Brokaw directs with a strong but understanding hand, giving room for the actors to intersect with Guirgis’s sharp language...Gathegi doesn’t just speak his lines but he lives every word...An exciting beginning to Guirgis’s Signature Residency."
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"Guirgis has written an issue play, with a capital 'I'...And he’s built it on the back of some rat-a-tat dialogue and exchanges of ideas that continually reveal the capacity to surprise...It’s in those Sorkin-like exchanges that dance around Big Ideas without ever settling on even Medium-Size Conclusions, that Guirgis‘ work shines...'Jesus Hopped the ‘A’ Train' still packs a punch."
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