The Convent NYC Reviews and Tickets
Show-Score Member Reviews (26)
See it if you want to experience raw, visceral performances. The characters are predictable in some ways, but are portrayed with openness and truth.
Don't see it if you want to see something truly inventive. Some of the big moments are rather predictable, but there is still beauty in the telling of it. Read more
See it if you like scripts that take a risk & productions that do things that only live theater can do.
Don't see it if you are looking for a realistic peek into life among the nuns. Read more
See it if you want to see a beautiful and fascinating play about a world of secrets and devotion. The play takes bold moves and risks, worth seeing.
Don't see it if you want to see a play fully formed that has a neat ending. There are compelling performances and the set is gorgeous.
See it if You are interested in spirituality and female mysticism.
Don't see it if You don’t like female-centered plays. You want more action than dialogue. Read more
See it if you're interested in a pretty incisive look at what it really means to discover yourself, and what it really costs.
Don't see it if you don't want theater that challenges you.
See it if a magnificent set and excellent direction is enough for an interesting evening.
Don't see it if you want plot twists that are surprises. Everything seems to be telegraphed before it happens.
See it if you love feminist work and historical feminist exploration. The actors are incredible, especially Brittany Liu. Script is funny at times.
Don't see it if you don't like half-baked scripts. I felt the directing was weak, based on how hard I saw the cast working. There were moments of beauty. Read more
See it if You like feminist stories and unusual mistical journeys. Over the top acting.
Don't see it if You do not enjoy in your face conflicts or are bothered by mistical or religious storylines.
Critic Reviews (14)
"As the play’s structure comes to resemble a reality competition with arbitrary tasks, the six pilgrims likewise come to resemble the clichéd characters in a lifeboat story...These questions remain crucial ones to ask, but Ms. Dickey’s round-robin structure diminish their impact. In a way, so does Mr. Talbott’s deluxe staging, by enhancing the play’s conceit at the expense of its characters...For me, the best moments of 'The Convent' are thus the quietest ones."
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“A women’s retreat at a French medieval convent sounds as if it would be a quiet, drama-free endeavor—and who wants that at the theatre...Melodramatic plot twists and a reveal you will see coming for miles follow...This is the kind of stuff that Busch’s comedies parody, but Dickey’s commitment to big feels is commendably unflinching—she does not hide behind ironic distance—and Talbott’s handsome production matches it."
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"Dickey certainly allows a fair amount of ridicule to shine through such earnest 21st-century faux mysticism. Even so, neither Dickey nor her equally sardonic director Daniel Talbott ever mocks the quest for enlightenment itself...Dickey's resolution of plot threads is less elegant than her poetic exploration of them throughout the rest of the play...Fortunately...nothing is too neatly tied to keep you from sitting in this playwright's finely crafted well of uncertainty."
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“The women of ‘The Convent’ are almost entirely without inner lives. They're a shelf of empty vessels passing for characters, each defined by a single factoid...That there's a fine line between contemplation and navel-gazing is something with which ‘The Convent’ is incapable of grappling...’The Convent’ suffers from deficiencies in the areas of character and conflict...Talbott's direction keeps the action moving...He can't get better than uneven results from his leading ladies, however.”
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“This production disappoints...The playwright contributes some poetic language...Unfortunately, the beatific thoughts tend to get lost...A hurried pacing by Talbott...also skims through the talk...Perhaps another director might be better attuned to the sensitivities of the characters—some of whom appear to be underwritten...While there’s interesting stuff going on in ‘The Convent’...This play and its characters scarcely broach the story’s possibilities.”
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"While Jessica Dickey's 'The Convent' may not have any new answers and may cover familiar material, it does so with such vitality and theatricality, that it becomes a memorable experience. Under the direction of Daniel Talbott, the seven actresses led by Samantha Soule and Wendy vanden Heuvel are compelling and expressive. By the time the play is over, the audience has experienced much that the inmates of the retreat have gone through."
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"A satisfying, if occasionally uneven, dramedy...The ensemble is made up of strong performers, and each is given at least one standout moment that feels uniquely of that character. This speaks not only to the actors' abilities but also to Talbott's attention to nuance...Dickey has a natural ability to use language to probe emotions, and to sneak up on an audience with humor...Executed by an able cast and a thoughtful director, it makes for a memorable stay at 'The Convent.'"
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"Some of the characters are more fully drawn then others, but Dickey has a way with language and most women will probably find something to relate to in this play (not that men can't get something out of it as well). The scenes with all the women talking and bonding are the most enjoyable, thanks to the writing as well as the performances, and have been staged with a delicate hand by Daniel Talbott."
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