I’m Bleeding All Over the Place: A Living History Tour NYC Reviews and Tickets

“Though original and occasionally rousing, ‘I’m Bleeding All Over the Place’ doesn’t feel finished or fully articulated. It’s sketchy and crowded, more a grab bag of ideas than a distillation of them. It seems to invite audience response, but recoils from actually demanding it. Sometimes it abuses us spectators; sometimes it flatters us; sometimes it ignores us.”
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"The experiment seems to be miniaturization...Most shows drag, but I found myself wishing this one would slow down and tell us where all the heady investigations have actually gone. O’Harra has big, thorny issues in mind, but thinking takes time—and here the deliberate smallness becomes cuteness. The director herself is the play’s main subject, and her sly brilliance shines at every moment. But while she holds a mirror up to her nature, the show only provides a hasty peek."
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“Very much an experience and a delightful one at that...There is a lyrical quality to the language, making it very pleasant to listen to...It's impossible to be indifferent to this piece. If you have an appetite for adventure, you'll relish it. If you are easily made to feel uncomfortable, this might challenge you. Either way, the piece will change how you think about human interaction.”
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"From up-close encounters with cast members who are so perfect at playing their parts you often wonder where the performance begins and the actor ends, to O’Harra’s literal attempt to try and capture a memory, there is much more than blood in the show: there are dreams, soulful anecdotes and revelatory insights…What an irony that as Ms. O’Harra dreams of finding a solution to her creative conundrums and issues, she might very well be sending people home in a state of utter bliss."
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"Intriguing and, at times, frustratingly slight. 'I'm Bleeding' engages with complex subject matter, parsing the daily emotional toll that micro-aggressions exact and the director's evolving relationship with her audiences…On its own, unfortunately, the piece feels insubstantial, its scenes a bit jumpy, its observations on theater and love surprisingly general…But it contains the seeds of a larger and stronger observation built up over years of probing theater's unconventional edges."
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"Moments of intimacy between audience and performers juxtapose in brilliant contrast against performance art, which traverses expertly into a moment of musical revue…This stellar cast makes use of a large and complex space, creating moments of truth, intimacy, and questioning that are incredibly compelling...It is a visceral, thoughtful, compelling piece that works with the audience to create meaning. A stellar effort that is not to be missed."
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