John Soltes

His show is hilarious and heartfelt, and perhaps that will be surprising to the fans who are expecting 90 minutes of pure laughs. The laughs are present and accounted for (and then some), but Ross smartly expands his repertoire to tell the story of his life and the loving family he had back home in Newark, New Jersey… Taken together, these laughs and more sullen moments make for a first-rate Broadway show that perfectly displays Ross’ many skills as a comedian and his powerful penchant for storytelling.

Grief Camp, more than most plays running nowadays, takes some creative risks in its storytelling and character development, and those risks pay off. Smith, making her off-Broadway debut, is a welcome presence on the New York theatrical scene, someone who has an uncanny ability to document the human experience and how conversations evolve and devolve based on what’s said and what’s left unsaid. This is one of the strongest shows of the off-Broadway season.

The Great Privation features solid performances from its cast, especially Lucas-Perry and Vickerie, who hardly leave the stage for the intermissionless work. The two actors, along with Holiday and Jackson, seamlessly transition between the two time periods with ease, sometimes within seconds. They adopt slightly different voices and embody different characters, but again they keep the channels between the generations open, allowing influence to seep in. Robinson, who premiered this play at Theatre 503 in London, is definitely someone to watch in the theatrical space. Her ideas and perspectives are most welcome beneath the proscenium, and The Great Privation is one of the strongest plays of the spring season.