David Barbour — Theater Critic

In the current climate of pointless wars and nonsense-spouting politicians, we should be primed for works like Delirium. Somehow, however, it fails to resonate. For all the talent expended on this production, it feels like a faded bulletin from another era. Its laughter and its terrors are surprisingly muted.

Perhaps another director might have guided Jones to a more forceful performance; Eric Ting seemingly gives her free rein when another editorial eye might have served her better. America, Who Hurt You? is both diverting and unsatisfying, a call to action that lacks the passion that this moment arguably requires. The world moves very, very fast these days. Jones' observations might have landed with more force a couple of seasons ago. Right now, they feel like too little, too late.

Most of all Well, I'll Let You Go transforms the mundane details of Maggie's story into something authentically luminous, a meditation on the gorgeous singularity of every human life, no matter how fleeting. Last summer, I thought Well, I'll Let You Go was a notable debut. Now it looks like a major event.

Most of all Well, I'll Let You Go transforms the mundane details of Maggie's story into something authentically luminous, a meditation on the gorgeous singularity of every human life, no matter how fleeting. Last summer, I thought Well, I'll Let You Go was a notable debut. Now it looks like a major event.