The Other Place (Zeldin)

Closing: March 01, 2026

The Other Place (Zeldin) - 2026 Off-Broadway History , Info & More

Cast Creative History Photos More to Do

The Shed

West 30th Street, between 10th and 11th Avenues New York, NY

Run Type Limited Run

Market Off-Broadway

Previews January 30, 2026

On the anniversary of the death of their father, two sisters reunite at the family home after a period of estrangement. Their uncle is attempting a fresh start, but one of the sisters threatens to shatter this peace, demanding justice for the pain she carries. Guilt, grief, and greed battle it out as the family goes to war over dreams of their future, and visions of their past.

The Other Place (Zeldin) - 2026 - Off-Broadway Cast

Ruby Stokes

Tobias Menzies

Lorna Brown

View More of The Cast

FEATURED REVIEWS FOR The Other Place (Zeldin)

The Other Place Review

From: New York Theater
By: Jonathan Mandell
Date: 2026-02-11

7 / 10

It is not inaccurate to call “The Other Place” taut and tense, a showcase for D’Arcy’s embodiment of stress and Menzie’s eventual explosive expression of guilt, aided by the insistence of Yannis Philippakis’ electronic score and the persistence Josh Anio Grigg’s sound design (which includes endless startling pings from cell phone messages.). But Zeldin’s skill as a director in dramatizing the everyday is on display in the performances of the other cast members, especially Lee Braithwaite as the stepson Leni, who even in his smallest and seemingly most random of movement reveal his place in the hierarchy of the family.

The Other Place

From: Time Out New York
By: Adam Feldman
Date: 2026-02-11

6 / 10

Yet The Other Place, like many other attempts to modernize the Greeks, has a hole where the ancient gods, fates and rituals should be. Compared to Antigone’s insistence on honoring the dead, Annie’s protest has risibly low stakes; just as an Oedipus without oracles is reduced to the story of a preposterously unlikely and monstrous bummer, Antigone without deeply rooted righteous principles is just the story of a mentally ill woman who can’t give up her father’s ghost. Compensatorily, Zeldin fills out the story with a theme of sexual transgression that emerges too suddenly to deliver the neomythic familial drama of, say, A View from the Bridge, and whose denouement is triggered by a stage convention—the coupling of an implausible indiscretion and an inopportune entrance—that is less classical than cliché.