Bleach NYC Reviews and Tickets

"Ireland-Reeves’s play takes fewer risks than Tyler does. We’re missing some key part of Tyler’s fall down the morality slipper-slide...The night seems meant to feel risky, like a Grindr encounter gone disastrously awry. But despite a committed in-your-lap performance, it pulls too many of its psychosexual punches. 'Bleach' wants to sting and corrode and make your eyes water. Instead, it's a mild and pleasant evening—not a bad date at all."
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"This cheeky Ortonesque reverie is hilariously delivered in all of its wicked rhythmic glory by Eamon Yates who gives a fearless performance as Tyler...The totality of his unflinching achievements in the role is substantial...Ireland-Reeves’ adeptly constructed and flavorfully written monologue is a wild character study...The tarted up production wondrously elevates the familiar material into a relatively engaging 75 minutes."
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"Tyler epitomizes the arch, all-knowing homosexual who never takes anything too seriously. In George’s hands, Tyler commands the room...Carey makes excellent use of the intimate environment, and given that the script lacks stage directions, Carey’s choices at the end are especially haunting...Whiteness is a recurring theme here. While I’m not sure this is Ireland-Reeves’s goal, if it is, ‘Bleach’ may well be the most fitting gay theatre piece for our time.”
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"A stark, hilarious, pathetic, outre, and grotesque pastiche...Tyler Everett, exquisitely played by Eamon Yates, shares his story intimately with the audience...Eamon as Tyler flits around the studio, sitting with us, dancing, aware of his beauty, secure in his seductivity, all the while telling a story of contradictions, abasement, and horror...Yates’ performance is amazing and chilling: he humanizes a charming young man dehumanized by the circumstances of his life."
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"A surprisingly thoughtful and intriguing play...It’s a one-man, coke-snorting, roller-coaster ride...It’s a centuries old story, but as written in this solo site-specific show, directed with a free-flowing ease by Zack Carey, it’s an engaging adventure, and as intoxicating as I’m sure it is for every man who has had the pleasure of Tyler’s sensual company...'Bleach' cleanly and efficiently gets the job done, taking away the soiled mess, and giving us all a good clean night of fun."
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“While the experience of seeing 'Bleach' is memorable, the play itself is too safe for its own good, shedding a smirking light on the reality of violence and danger facing sex workers without enough character development to invite meaningful investment...The play misses an opportunity to offer a more psychological look into what a person in Tyler’s position might truly think...‘Bleach’ is one of the more unique, immersive theatrical experiences...and that alone makes it worth checking out.”
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“Ireland-Reeves’s compelling play...’Bleach’ is a potboiler...Yates makes quite a meal of Ireland-Reeves’s monodrama. But there’s far more to Bleach than sensationalism...Tyler is a vivid, intricately developed character...Despite its subject matter, ‘Bleach’ is never prurient. On the contrary, it’s a compelling reflection on the long-term effect of compromised principles, and a depiction of what happens when one submits to ‘anything and everything’ for material gain.”
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“The script at first seems predictable...but it turns into something more interesting and creative than we expect...Carey’s direction is delicate, meticulous, never heavy-handed or obvious...Yates is never false...However, he does not have emotional range or depth...Be that as it may. ‘Bleach’ is first-rate cutting edge theater. I’ve never felt closer to a character than this hyper-intimate evening. Well done!”
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“The script suffers slightly from too much telling and not enough showing...Tyler goes into detail about his transition from hard-working, underpaid Chinatown waiter to overpaid, morally slippery prostitute. But Tyler seems completely comfortable with his new existence...George is very likable and has a devastatingly flirtatious stare...Carey moves Tyler around the space nicely, pushing him into our personal spaces just slightly and creating a nice tension.”
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"There is a certain beauty in the craftsmanship of this play, but the subject matter, the performance space, and the performance itself were ugly. This is not a negative criticism. Ugly used by the right artist can be compelling and revealing...Yates literally interacted with the audience. His performance was skillful, smooth, and there were rarely moments when I wanted to hurry him up...A well-acted, well-crafted, immersive artwork worthy of much attention."
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