Review: THIRTY-SIX at Circa Theatre

Bold, often raunchy, frequently funny, and unexpectedly tender

Thirty‑Six is a 2024 play by Leah Nanako Winkler, a work that quickly drew critical attention and went on to win the 2024 Will Glickman Award for Best New Play produced in the Bay Area.

Inspired by the 2015 New York Times article “The 36 Questions That Lead to Love,” the play draws on psychologist Arthur Aron’s intimacy‑building questionnaire. The premise becomes the engine for a sharp, funny, and emotionally charged encounter between two very different people.

The story follows David (Niwa Whatuira) and Jenny (Fern Sutherland), strangers who meet through a dating app. David, a gentle-hearted romantic, proposes they try answering the 36 questions during their first date. Jenny, by contrast, is upfront about wanting only a brief physical encounter, no emotional strings attached. As the evening unfolds their conversation deepens, brushing against vulnerability and genuine connection despite their opposing intentions.

A unique feature of this production is the third on‑stage presence: Anya Tate‑Manning as the embodied “stage directions.” She narrates the action, punctuates scenes with humour, and occasionally steps in with props. Her performance is relaxed yet well‑timed, and an integral part of the play’s rhythm.

The staging by Shiloh Dobie is deceptively simple: two red chairs spaced apart, bar leaners flanking the stage, a ladder rising to an upper platform, and three poles opposite. Every element has a purpose, efficiently guiding the audience through shifts in setting and mood.

Lighting (Marcus McShane) and sound (Dan Elliott & Chris Ward) complement the production, reinforcing tone and atmosphere without distraction. Under Yael Gezentsvey’s direction, David and Jenny never touch or even look directly at each other. This physical distance, maintained even during moments of simulated intimacy, becomes a powerful commentary on modern connection and disconnection.

The play is bold, often raunchy, frequently funny, and unexpectedly tender. Whatuira’s southern accent is occasionally challenging to catch, though only briefly; once it’s revealed that David is from Kentucky, the choice becomes fully justified. His performance is moving, capturing a man earnestly seeking real emotional connection.

Sutherland delivers an equally compelling performance. Though her character initially seeks only physical connection, her emotional landscape is rich, and she uses every opportunity to reveal deeper layers that draw the audience in.

Tate‑Manning’s presence as the third performer adds levity and texture to the production. Her relaxed delivery and sharp timing make her an important part of the experience.

At 90 minutes with no interval, the play is tight, revealing, and well‑paced. Some of the thirty‑six questions elicit throwaway answers, while others crack open powerful stories that explain exactly why each character has arrived at this moment in their lives and what they’re truly seeking, whether physical, emotional, or both.

If you enjoy theatre that entertains while also challenging expectations, Thirty‑Six is absolutely worth seeing.

The R16 content warning is appropriate, but the adult humour and explicit moments feel essential to the story rather than gratuitous. Removing them would soften the play’s impact and dilute it's authenticity.

Excellent.

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