77

Villa NYC Reviews and Tickets

77%
(13 Reviews)
Positive
92%
Mixed
0%
Negative
8%
Members say
Thought-provoking, Absorbing, Intense, Resonant, Relevant

About the Show

The Play Company presents the U.S. premiere of this drama about three women charged with deciding the future of Villa Grimaldi, an infamous Chilean detention camp.

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Member Reviews (13)

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80
Quirky, Dizzying, Relevant, Thought-provoking, Intense

See it if Part theater, part performance art. Intentionally confusing, then clarity arrives with a big revelation. Makes a powerful point.

Don't see it if You don't like being "played" for artistic impact. You prefer a more traditional narrative. Read more

7
Confusing, Excruciating

See it if You enjoy dialogue that goes around in circles.

Don't see it if You cannot understand when 3 young actresses are "play acting" and keep calling each other Alejandra. Had no idea what was going on.

Critic Reviews (8)

March 12th, 2017

"'Villa' could be fantastically depressing. Sometimes it is. But the three actresses give energetic, unfussy performances and get good comedic mileage out of the awfulness of committee work...Mr. Calderón owes a debt to absurdism, which can sometimes make his material seem abstract rather than urgent. But he can’t forget that real people were tortured in the villa. Neither can the women. Neither can we. Their problem of what to do with this site becomes our problem, too."
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March 12th, 2017

'Villa' is three things simultaneously: a photorealistic comedy about decision by committee, a bolder 'No Exit' and an anguished scream. In the first case, the three women under Calderón's direction are all marvelous naturalistic performers; they find comic grace notes even in tiny things...For me, the shock came when the play and the reality came crashing finally together...I realized that despite the brutal content, I had been enjoying myself at the theater, delighted by Calderón's craft."
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March 16th, 2017

"The script is an exceptionally eloquent statement about the ripple effects of dictatorship, how such ghastly abuses of power reverberate long after they have ended. The author, who also directed, has elicited three furious, yet tightly contained, performances...All three actresses play off each other so seamlessly that they essentially constitute a single performance—taut, probing, and riddled with barely suppressed anguish."
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March 13th, 2017

"Absurd, tantalizing and chilling...The three vibrant actresses in it, Crystal Finn, Vivia Font and Harmony Stempel, are a dynamic team who mine all of the comedy and dramatic depth of their characters with commanding flair...Chilean playwright Guillermo Calderón constructs a simple, engrossing and often funny scenario...Calderón also directed and his staging is slyly subtle...'Villa,' with its serious concerns, vividly proves true the adage that comedy is tragedy plus time."
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March 12th, 2017

"Gregory's translation is a gem...Finn, Font, and Stemple are an incredibly talented, balanced, generous cast...They breathe life into this already excellent work...'Villa' glimmers with the wild, unspoken desperation of people healing like their lives depend on it. No one knows at any given moment whether they're getting nowhere or somewhere in that healing process...'Villa' shares that devastating confusion with its audience impeccably. It is greater than the sum of its parts."
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March 13th, 2017

"The excellent trio of actresses put heart and soul into making us feel the enormity of their task...Still, where the play will connect with audiences in its US run is through its writing–Calderón’s flashes of absurdity, irony and wit–more than through its problem of historical memory and national reconciliation...A shrewd, engaged play in a passionate production...'Villa' is a subtle work of political theater by an exciting contemporary voice...The play is a knockout, and indeed memorable."
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March 15th, 2017

“A smart, ironic drama…This combination — gruesome humor paired with deep insight — is what Calderón does best. The women's hypothetical visions raise unanswerable questions about whether trauma can ever be responsibly remembered, or really forgotten. They forge reality and fantasy into theatrical richness — a deeper kind than the play's ultimate moment of truth, when we learn why these particular women were chosen for such a momentous task.”
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March 20th, 2017

“‘Villa’ moves in the direction of being a great and profound work...Calderón’s language is vivid, poetic, ironic and intelligent. However, Calderón is less skilled as a director, and the play lacks the physicality needed to give the actors any weight…We don’t know anything about them, and the words are not connected in any meaningful way to time, place, or to an emotional or relational interior...The play admirably wrestles with the bigger idea of how to memorialize a tragedy.”
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