From Pulitzer Prize winner Martyna Majok (Cost of Living, Sanctuary City) comes an epic drama about hunting for the American Dream, finding family, and facing the ghosts you left behind. In an illegal basement apartment in Queens, multiple generations of immigrant women fight to launch a new life. But when a young Ukrainian woman comes searching for the mother who abandoned her years ago, she forces a reckoning with the impossible choices the women made to survive. Directed by Trip Cullman (We Had A World, Choir Boy), Queens chronicles the strivers who sacrificed whole worlds for the chance at something remarkable.
Knockout performances across the board get to the heart of Majok’s play with little pity but plenty of humor. If the moments of magical realness feel less than inspired on Marsha Ginsberg’s bifurcated set with billowing curtains to indicate the passage of time, this found sisterhood has plenty in its tank to fuel the evening. References to 9/11 and Trump’s first presidential term ocassionally feel forced, though the spiraling xenophobia creates a chilling backdrop for the women’s intersecting lives.
Majok’s expansive work lives up to their talents, and allows each of them to shine, capturing two moments (2001 and 2017) at an overcrowded basement apartment in the titular New York borough. The women making do with their exploitative-but-what-can-you-do situation are all from Ukraine, Honduras, Afghanistan and Poland, either striving towards financial independence or temporarily in the country to send money (or wayward relatives) back home. The particulars of their situations are both immaterial to critical analysis and completely the point; a compendium of the world’s ails that drive people to migrate, and which drive the disenfranchised to build strong communities – well, almost always.
| 2025 | Off-Broadway |
Off-Broadway |
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