Homos, or Everyone in America NYC Reviews and Tickets
Show-Score Member Reviews (48)
See it if you like intimate plays imaginatively staged in a very small space; plays that look at modern gay life but with timeless emotional impact
Don't see it if you're not comfortable wit explicit gay themes or plays staged in very small spaces,
See it if you're a Michael Urie fan, enjoy clever gay romance with odd chronology but very clear, like intimate designed space with scenes all around
Don't see it if not a fan of gay plays or open affection, don't like being in the midst of action (no audience participation) or unusual chronology
See it if you can. This show is literally for and about everyone in America.
Don't see it if you're not interested or invested in what it means to be alive right now.
See it if You want a funny look into urban gay life in USA
Don't see it if Gay intimacy makes you uncomfortable
See it if you want to see an incredible performance by Michael Urie. One of the best I have seen in a long time. I can't imagine seeing this great
Don't see it if show anywhere else. They made great use of the space. Really well written and staged
See it if drama about relationships
Don't see it if gay themes
See it if you are interested in plays that chronicle relationships and if you like jumping timelines. Robin de Jesus and Michael Urie were fantastic.
Don't see it if you have a difficult time following shows when the timeline jumps around or if you don't want to see discussion of a hate crime.
See it if you like to be challenged at the theatre. The seating alone is different and fresh. The structure of the play is tricky but rewarding.
Don't see it if you're squeamish about sexual content - or if you don't like being seen while you're in the theatre. Lots of eye contact with other audience
Critic Reviews (12)
"It might seem as if the creative team has put up barriers between the audience and the story...But as it turns out, the experiments in form, language and design do not get in the way of appreciating what’s strongest about the play: The central relationship is believable, and engrossing. This is in large measure because Michael Urie and Robin De Jesús are terrific actors, and also because the playwright is bluntly honest in exploring the range of emotions involved in any relationship."
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“‘Homos, Or Everyone in America’ is, for the most part, funny, touching, thoughtful, and pertinent...Helping greatly to make the essentially familiar situations theatrically viable is Seavey’s distinctive gift for capturing the natural flow of conversation (much of it comically profane), with unfinished sentences broken into brief phrases that leave thoughts incompletely expressed, or that weave in and out in fragmented shards with the similarly splintered sentences of someone else.”
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"Jordan Seavey’s new play presents a lot of problems. First, there’s that title...Then there’s the staging...Then there's the tricky sequencing: the story is told in fragments that move backward and forward in time...Jumbling the timeline does not lend the material greater heft...The Writer is described at one point as a gay Woody Allen. I found him basically unsympathetic, even when played by an actor as appealing as Urie. Robin De Jesus is very strong, especially at the play's climax."
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"The narrative jumps around in time, as if on shuffle or told through an addled memory...Donahue's staging has a similar sketched-in aspect...Neither character emerges as distinct, largely because, for all their disagreements, they sound so much alike...Despite Urie's fidgety charisma and the emotional openness De Jesús offers, there's something arch and artificial about Seavey's refusal to portray the more quiet, everyday moments that characterize a long-term romance."
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