A Woman Among Women 2026

Opened: June 4, 2026
Closing: June 28, 2026

A Woman Among Women - 2026 Off-Broadway History , Info & More

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Claire Tow Theater

150 West 65 Street New York, NY 10023

Run Type Limited Run

Market Off-Broadway

Previews May 16, 2026

It's a summer day in Northampton, Massachusetts and Cleo, founder of the local women’s wellness center, holds court in her backyard. As friends, family and neighbors pass through, the air hums with a tension that may destroy the community she's worked so hard to build. With A WOMAN AMONG WOMEN, playwright Julia May Jonas (Netflix's Vladimir, LCT3: Your Own Personal Exegesis) delivers a sharp, subversive counterpoint to Arthur Miller’s All My Sons. “Fascinating, playful, and ultimately wrenching” (Vulture), Jonas offers a new take on the American tragedy.

A Woman Among Women - 2026 - Off-Broadway Cast

Morgan Siobhan Green

Gabriel Brown

Drew Lewis

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FEATURED REVIEWS FOR A Woman Among Women

A Woman Among Women: A Female All My Sons Without the Tragedy

From: New York Stage Review By: Roma Torre Date: 2026-06-05

5 / 10

A program note says that the play asks what it means to inhabit a role within a community and to define oneself against or within expectations of others. It’s a vague notion and director Sarah Cameron Hughes’ staging doesn’t help to clarify the point of spending so much time on unrelated activity. The playing space – in the round with audience members seated along the periphery – offers no sense of time or place. The play begins as the actors enter from all sides setting up lawn chairs alongside the seated audience members. If intended to create a communal effect with the audience, it mostly causes confusion. And unlike in All My Sons, most of Jonas’ characters are peripheral to the story.

‘A Woman Among Women’ It’s Miller time with a distaff spin (Off Broadway review)

From: Culture Sauce By: Thom Geier Date: 2026-06-05

6 / 10

While I wish that A Woman Among Women had embraced a single aesthetic approach and worn its inspiration more loosely, I admire how Jonas invites us to consider familiar conflicts in new ways. What are the challenges, both within our communities and our personal consciences, that would resonate with the mid-20th-century figures of Miller’s lifetime? And would female protagonists react any differently, with more nuance or less dogmatism? These are fascinating, even important questions — and Jonas poses them with considerable skill.