Benevolent Off-Broadway Reviews

An endlessly inventive director who also helmed McIntosh’s last three premieres, Goodheart is a master of mood, allowing the script ample room to breathe into 100 expansive minutes. No scene is left unmined for emotive potential, and one transition...

An endlessly inventive director who also helmed McIntosh’s last three premieres, Goodheart is a master of mood, allowing the script ample room to breathe into 100 expansive minutes. No scene is left unmined for emotive potential, and one transition, in particular, seems drawn out simply for the pleasure of existing in these women’s space. Once again, Goodheart draws performances from her cast that are deft in characterization while in service to the overall tone.

At its most exposition-heavy, the care taken to establish the women’s differences can feel a little effortful, but that effort surprisingly pays off in a completely different direction: to me, benevolent also often recalled an ensemble comedy like ...

At its most exposition-heavy, the care taken to establish the women’s differences can feel a little effortful, but that effort surprisingly pays off in a completely different direction: to me, benevolent also often recalled an ensemble comedy like The Breakfast Club. A group of strangers from disparate backgrounds and walks of life find themselves thrown together, and both genuine comedy and genuine relationships ensue

McIntosh strikes an effective tonal balance, neither pretending as though the women are living in 2026 nor relying on too much archaic terminology. This allows the contemporary resonances to shine through without heavy-handedness. Benevolent is a pow...

McIntosh strikes an effective tonal balance, neither pretending as though the women are living in 2026 nor relying on too much archaic terminology. This allows the contemporary resonances to shine through without heavy-handedness. Benevolent is a powerful play, strikingly well directed, with turns and revelations that land forcefully, even if one can see them coming.

Goodheart’s direction is the indispensable fifth performance. Having directed McIntosh’s previous three premieres, she understands how to let the playwright’s tonal volatility become an asset rather than a liability. The production can move fro...

Goodheart’s direction is the indispensable fifth performance. Having directed McIntosh’s previous three premieres, she understands how to let the playwright’s tonal volatility become an asset rather than a liability. The production can move from a joke about the provenance of a revolting stain to erotic discovery, from buddy-comedy banter to genuine horror, without treating any of those registers as a betrayal of the others. Goodheart allows the 100-minute play room to breathe, even permitting transitions to linger for the sheer pleasure of remaining with these women.