My Eyes Went Dark
Closed 1h 15m
My Eyes Went Dark
77

My Eyes Went Dark NYC Reviews and Tickets

77%
(57 Reviews)
Positive
82%
Mixed
16%
Negative
2%
Members say
Great acting, Absorbing, Intense, Confusing, Thought-provoking

About the Show

107group presents a tragedy inspired by true events about a Russian father driven to revenge after losing his family in a plane crash. Part of 59E59's annual Brits Off Broadway festival.

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Member Reviews (57)

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69
Confusing, Dizzying, Great acting

See it if Strong performances don't making this confusing, disjointed show work. Very heavy work about trgedy and loss.

Don't see it if You are looking for a clean narrative or have trouble keeping track of switching roles and time periods.

90
Intense, Epic, Intelligent, Profound, Relevant

See it if The victim has a hard time forgiving if the perpetrator doesn't acknowledge their responsibility.

Don't see it if You are not up for an dark, intense story with a lot of grief and anger. Read more

Critic Reviews (22)

The New York Times
June 26th, 2017

"The staging...effectively guides the play through hopscotching shifts in setting and time. Too often, however, the script jumps face first into scenes, then flounders as the exposition-laden dialogue tries to pick up the slack...Ms. Jayasundera moves deftly from role to role...Mr. Conlon’s Koslov is an unfinished sketch, barely shaded beyond his revenge...The peak emotional moments verge on the melodramatic...'My Eyes Went Dark' at once presents us with too little and broadcasts too much."
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Time Out New York
June 14th, 2017

“Wilkinson's precise ear for dialogue makes his succession of brief scenes convincing, and ‘My Eyes Went Dark’ has power as a high-intensity acting showcase. But there's too little analysis of the mechanisms of revenge and forgiveness. Instead, the play offers intense, histrionic moments that we thrill to as voyeurs, not as thinkers. Actual grief and actual murder are repurposed for our dark entertainment, and there's something ugly in that."
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BroadwayWorld
June 19th, 2017

"The two-hander features the extraordinary acting talents of Declan Conlon and Thusitha Jayasundera. Conlon's portrayal of Nikolai Koslov is an evocative, heartrending performance. Jayasundera plays multiple roles that fill out the entire story...'My Eyes Went Dark' is a very timely piece of theater that examines a tragedy from a rarely seen perspective. It is an intriguing play that will surely captivate metro area audiences."
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Lighting & Sound America
June 15th, 2017

"Conlon is especially brilliant at signaling submerged emotions, a skill that proves invaluable here...Given the fragmented nature of Matthew Wilkinson's script, the narrative is occasionally a little confusing...Still, under Wilkinson's direction, there are many passages of unsparing power, and Conlon and Jayasundera hold the play together through a potent combination of talent and nerve."
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Talkin' Broadway
June 14th, 2017

“Performed in a small, intimate space with only a pair of chairs onstage, the play's potency is not borne solely by the Lear-like power of Conlon's performance. He is equaled by co-star Jayasundera, an accomplished actress who portrays multiple other characters who cross Koslov's path…These two finely wrought performances are honed to a sharp edge by the playwright, who also directs…A most unsettling evening that raises at least as many questions as it addresses.”
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Theater Pizzazz
June 14th, 2017

“Written and directed with thoughtful precision by Matthew Wilkinson...The production is a performance tour de force around which soul tragedy, self-betrayal and vengeance combine to break open an enlightened revelation by the play’s conclusion…Wilkinson’s work and this production are an intriguing mental exercise…The play’s power and dynamism are trenchant. This is an exceptional achievement in a production that is stylized and expressionistic.”
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Front Row Center
June 16th, 2017

"Mr. Conlon’s Koslov doesn’t quite ever succeed in making us feel much real sorrow. His emotive range tends to be professionally efficient, but veers dangerously towards the melodramatic…Mr. Wilkinson, as the director, shares some of the responsibility for this shortcoming. More dauntingly, the action takes place over a broad range of locales...and at a pace much more suited to film or television than to the stage...Jayasundera, however, acquits herself remarkably well."
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Front Mezz Junkies
June 19th, 2017

"This beautifully told tale of utter grief and sadness is slowly parceled out to us over the 90 minutes we spend with these two souls that inhabit this perfectly crafted small space. Declan Conlon and Thusitha Jayasundera, the two very fine actors that have gifted us with their presence and talent, make it feel huge though...Although Wilkinson’s deep and layered drama has moments of disconnect, the play and the performances overcome those unfocused scenes as a whole."
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Theatre's Leiter Side
June 14th, 2017

“Sincere as all this is, and significant as are its concerns with vengeance, forgiveness, guilt, and responsibility, the cool, quiet, low-key, soporifically paced production sometimes almost made my own eyes go dark…Jayasundera is versatile, able to adopt a variety of British accents that usually help identify who she's playing, and she can turn on deep reservoirs of feeling when required…Conlon…is less interesting…He…seems too dryly removed for a man so consumed by sadness and anger.”
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B
June 14th, 2017

“This should have been a powerful story, but it failed to engage me for one important reason. The character of Koslov is so unremittingly unlikable that it was difficult to be invested in his fate. Furthermore, the story is told out of sequence and is sometimes confusing. Resorting to colored lights and loud noises does not improve the material. Late in the play, it is suggested that Koslov’s rage against the flight controller was caused by displaced guilt. By that point, I no longer cared.”
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A Seat on the Aisle
June 15th, 2017

"'My Eyes Went Dark' turns out not to be particularly intellectually challenging, despite the questions it raises, because once raising them it doesn’t really do anything more with them. The premise of the play is a valid one but the play itself could use a lot more editing and fleshing out. And so my bottom line is this: the play itself is somewhat disappointing but the actors’ performances are phenomenal and those performances alone are justification enough for your seeing this one."
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Escape Into Life
June 13th, 2017

"The play’s short cryptic scenes are imaginatively staged on a nearly bare set, depicting Nikolai’s remorse and frustrated, finally violent search for justice. It is taut and involving and the actors are strong. The main drawback is the lack of attention to Koslov’s Russian heritage, which, because of its repeated mentions, presumably forms a large part of his motivations...That powerful and meaningful aspect of the man is merely skimmed."
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Exeunt Magazine
August 28th, 2016
For a previous production

“Full of potential…The pacing lets it down...The story line becomes quite predictable in this portion of the play, not helped by the fact that Wilkinson decides to linger on it…What saves the play is its cast…Jayasundera steals the show...She flits effortlessly through a myriad of accents and personalities, without ever taking the shine away from MacAninch. There may be some flaws in Wilkinson’s writing, but his direction is top-notch.”
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The Guardian (UK)
September 1st, 2015
For a previous production

“An extremely powerful play about justice, revenge and forgiveness...It’s a measure of the play’s success that abstract questions about vengeance and mercy are given a concrete application…It helps that the piece is performed by two first-rate actors…Wilkinson’s play provides no easy answers but poses a series of compelling questions about the nature of moral responsibility.”
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What's On Stage (UK)
August 7th, 2016
For a previous production

“Wilkinson's stark two-hander stares into the deep void of grief and despair…Koslov's numbness is beautifully echoed in the minimalism of Wilkinson's staging…Wilkinson's play might be a metaphor for Russia as a whole...However, while personifying a nation's politics makes those motives quite clear, Wilkinson risks distilling an amorphous knot of issues into a single slight. If this is a portrait of Russia, it's a simple – albeit serious – one.”
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The London Evening Standard
September 10th, 2015
For a previous production

"For a supreme example of high-octane acting in a small space, try ‘My Eyes Went Dark,’ a flintily uncompromising two-hander…This piece also serves as a welcome reminder of the boundless potential of theatre…Our empathy is engaged by an astonishing performance from Jayasundera…It’s high-order work of astounding versatility; in a bigger theatre than this it would make waves and win awards…It’s some of the finest work I’ve had the pleasure to watch in a long time.”
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The Stage (UK)
September 1st, 2015
For a previous production

“Wilkinson tells this story with great pace and fascinating detail. Although based on a true case, ‘My Eyes Went Dark’ has the feel of an ancient Greek tragedy…Wilkinson’s production has a bare, dark traverse staging, with excellent performances by MacAninch (Koslov) and Jayasundera (playing a dozen other roles including Koslov’s therapist and sister-in-law). Intense, thought-provoking and intelligent, both give a very strong reading of an emotionally fraught story.”
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British Theatre Guide
August 6th, 2016
For a previous production

“It is hard to imagine a less theatrical stage work…This piece has the feel of a long, ethereal radio play…Wilkinson has written a play that is deliberately disjointed and can be very confusing as time circles around. It doesn't help that the central figure is driven mad by his loss, such that his behavior is often irrational. ‘My Eyes Went Dark’ tries hard to get under the skin of an innocent victim but many might conclude that it misses its goal by some way."
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L
August 28th, 2015
For a previous production

“The telephone as a device is repeatedly used until it overstays its welcome. The audience is required to work harder than necessary to make sense of what is going on...MacAninch’s interpretation of Nikolai is believable enough, but the character is portrayed as abstract and aloof…The show suffers because it is very difficult to feel any sympathy for Nikolai…The narrative is not in chronological order, making it difficult to follow quite exactly who is alive and dead at a given point.”
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Everything Theatre (UK)
September 4th, 2015
For a previous production

“A thought-provoking and accomplished new play brought to vivid life in a high-quality production…Each scene peels away a new layer of character, events and meaning, which sets the previous in a new light…It is Jayasundera’s work that staggers…Superb technical accomplishment sees her snap between roles...in a heartbeat but talent demands that she embodies them so completely and convincingly.”
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A Younger Theatre
September 3rd, 2015
For a previous production

“One of the finest pieces of theatre produced this season…Wilkinson takes you on a spectacularly believable journey…The multi-talented Jayasundera who played every other character in the play could not be faulted. She had made a complete, seamless choice for each. With two such magnificent actors, this play truly shines…If I had queued overnight for this production, it would have been worth it. It would be a crime if a single seat for this production goes unsold.”
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Edinburgh Guide
August 8th, 2016
For a previous production

“This is not a simple play. Matthew Wilkinson’s script speaks volumes and is executed perfectly by the two actors. Jayasundera’s many characters are flawless and distinct – it is a privilege to watch this woman work. It is a superlative example of exceptional acting confined to two electrifying performances that make the script breathe life, and death. The story is uncomfortable and gritty and the production visceral and bare. Go into this play prepared; it is not for the faint hearted.”
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