Red Hills
Closed 1h 45m
Red Hills
70

Red Hills NYC Reviews and Tickets

70%
(16 Reviews)
Positive
75%
Mixed
13%
Negative
12%
Members say
Great acting, Absorbing, Intense, Slow, Great staging

About the Show

Inside 20,000 square feet of vacant downtown office space, the pioneering site-specific company En Garde Arts presents a transportive new work asking: who has the right to tell a story and why?

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Member Reviews (16)

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71
Ambitious, Absorbing

See it if You enjoy inventive and immersive theatre (even if it is a little underdeveloped)

Don't see it if You don't want to stand. You want something polished.

50
Banal, Obvious

See it if You don't mind being beaten over the head with a hackneyed story. It is hard to believe someone agreed to be identified as a dramaturge.

Don't see it if Obvious is a problem for you. Please, give the hero a bad habit, and give us any reason to not hate the stupid, evil white guy.

Critic Reviews (3)

The New York Times
June 13th, 2018

“A clever, site-responsive play...An intelligent work of theater and ultimately a reassuring one...What Ms. Pearl’s canny direction and the evocative design can only somewhat disguise is the conventional structure of the piece...The problem isn’t that this is a hopeful ending, but that it’s an ending that elides some of the more uncomfortable questions about who gets to own pain, who gets to profit from it, what it means that hate has birthed a tourism industry.”
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TheaterScene.net
June 16th, 2018

“A reworking of Lewis’ solo memory play ‘Dogs of Rwanda’...Kawe maintains Lewis’ basic plot but alters the conception for two characters...Lacks a compelling spine and earlier presentational additions don’t really add much...Never becomes very compelling...Writing is slack, rudimentary and persistently not very clear. The audience is often directly engaged to react...'Red Hills' nobly seeks to dramatize a notable and tragic historical event but does so inadequately.”
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Theatre is Easy
June 14th, 2018

"An honest conversation, full of laughter and heartache, between unlikely companions in misery. The seamless collaboration of two authors elevates the monologue of a privileged white man and returns the voice to those whose story it is in the first place...Ssenjovu’s performance is lively and forceful, and watching him savor Kawe’s tart jokes is very refreshing. The effect is strengthened by the contrast of horrifying stories of genocide in which his entire family perished."
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