Public Obscenities
Closed 3h 5m
Public Obscenities
75%
75%
(88 Ratings)
Positive
80%
Mixed
11%
Negative
9%
Members say
Absorbing, Ambitious, Great acting, Slow, Thought-provoking

The return engagement of a bilingual play about queer love, family secrets, & language's limits.

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Critic Reviews (12)

New York Magazine / Vulture
January 25th, 2024

"The play is fully bilingual...The whole ensemble is marvelous"
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Theatermania
January 24th, 2024

"The production elements come together seamlessly on the larger stage at TFANA."
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Lighting & Sound America
January 25th, 2024

"Its many virtues include an unusual setting, freshly imagined characters, a frank look at queer life in an entirely different cultural context, a solid ensemble, and an enormously evocative production design. Furthermore, playwright Shayok Misha Chowdhury has an eye for telling details and a keen awareness of his characters' subtle emotional shifts. Indeed, this meticulously crafted vehicle has everything but a motor to power it.”
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New York Stage Review
January 24th, 2024

"...Chowdhury is redefining what constitutes public and private obscenity."
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Theater Pizzazz
January 25th, 2024

Public Obscenities manages to maintain interest in an overlong, overwritten play that often seems about little more than the trivialities of human interaction, paying lip service to potentially significant matters that drift off into obscurity. The exotic setting and the overall authenticity of the expertly acted proceedings help to make a visit worthwhile, especially if you’re hungry for a taste of Kolkata without the heat, mosquitoes, and 20 million people.
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Front Row Center
January 24th, 2024

"A wonderful production with a strong cast and fabulous design"
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This Week in New York
February 25th, 2024

Shayok Misha Chowdhury’s bilingual 'Public Obscenities' is the surprise hit of the season.
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The New York Times
March 2nd, 2023
For a previous production

"CRITIC’S PICK: It is a testament to Shayok Misha Chowdhury’s gifts as a writer that he is able to evoke as many themes, histories and possibilities as he does in ‘Public Obscenities,’ and leave his audience not dazed or frustrated, but longing for even more.”
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