Love NYC Reviews and Tickets
Show-Score Member Reviews (222)
See it if Excellent acting, great story and superb sound design (hey, Broadway people, body mics DO work).
Don't see it if You need to see a literal, loud story. Read more
See it if The most compelling theatrical experiences I’ve had in months.
Don't see it if You would be challenged by a show that demand your attention.
See it if You want to see a production that is profound, heart broken and will make you appreciate Theater as a whole. Simple and beautiful production
Don't see it if You want to see something more cheerful and less immersive.
See it if A very intense, powerful and devastatingly heartbreaking play which moved me greatly. Incredible acting, direction and staging. A must see!
Don't see it if You want something light or funny or a musical. Its intentionally slow and realistic. But in a wonderful way. Go!!!!!!!
See it if you like gritty dramas on spartanly furnished sets with a strong experimental vibe.
Don't see it if slow, unhurried, bare-bones dramas turn you off. Read more
See it if you are prepared for a slow, often painful, exploration of how people can be trapped in cycles of poverty. An incredible living experience.
Don't see it if you want pizzazz and excitement. This is heartrending stuff but it is quietly delivered. Read more
See it if You want to experience art open your mind, heart and soul to current, real life issues.
Don't see it if You hv a closed mind. You’re triggered by homelessness. You’re looking for an average play that rolls merrily along. Can’t abide heartbreak Read more
See it if you like beautifully acted shows that are about the minutiae of life, lack of personhood by bureaucracy & connection in times of despondency
Don't see it if you don't like plays that might evoke emotions and/or introspection. You don't like shows where you may sit near actors/on stage.
Critic Reviews (11)
“CRITIC’S PICK: ‘Love’ is a great piece of theater — funny, beautifully staged, and with the kind of excitement that retunes your attention to tiny heartbreaks instead of just huge ones”
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“The story is as much about the characters’ trying and failing to see each other as it is about the audience’s doing the same. By the daringly staged last few minutes, it literally reaches out to you.”
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“ ‘Love’ does not rise to anything approaching dramatic peaks, having been stenciled directly from the lived experience of people like the characters we see...But even with minimal dialogue, the performances from all the actors are so finely etched that a certain sad warmth and sense of camaraderie with them accrues.”
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“The title of the play hangs over all this misery and by the end leaves us wondering what it means; in a place like this, people have no use for abstract ideas like love. Perhaps we're not meant to hear the title as an abstraction either, but rather as the name of a person.”
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“It's a terribly sad piece, an urgent wake-up call, and yet so enveloping is the effect of Zeldin's staging and so assured his ensemble that one can't help being totally engaged in the characters and their moment-by-moment struggle for dignity…The real miracle of Love is how it forces us to confront one of Western society's most egregious failings without making us want to turn away. It's an astonishing piece, and, in its quiet, unmelodramatic way, it demands to be seen.”
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“The script takes turns you will not see coming. The miracle is that, within these tight quarters, the human impulse to help, to reach out, does find room to flower. And if the play itself foments discussion, concern, and action, it will have fulfilled its mission.”
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Alexander Zeldin’s "LOVE" seems much longer than it actually is due to much silence and the reenactment of everyday tasks usually skipped onstage in plays. There is little dialogue and what there is tends to be rather ordinary talk about daily living. The play mainly works as a sort of experiment in the way that the Federal Theatre Project dramatized burning issues in the 1930’s. However, "LOVE" is a valuable record of life in a shelter using a documentary approach so real that it makes us feel like voyeurs. While the title remains unexplained, by the end each of the adult characters get to say it as a reminder that they have the backs of the others.
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“There are gentle crests and falls, but Zeldin is more interested in presenting a small period of time–of tragedy–in ordinary lives...These characters don’t live on the street, at least when we see them, but they are without a place to call their home and without anyone to help them find one.”
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