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: Ancient Greek Tragedy Meets Modern Family Drama

From: New York Stage Review By: Frank Scheck Date: 2026-02-11

8 / 10

You can feel playwright Alexander Zeldin’s struggling with his new play “inspired by” by Sophocles’ Antigone. Yes, The Other Place borrows an important plot element from that ancient Greek tragedy, namely a conflict revolving around the conflict over where to place someone’s remains. And just to keep us on our toes, it throws in another significant narrative device from Sophocles, one that won’t be revealed here. Ultimately, however, The Other Place feels like yet another dysfunctional family drama, albeit one blown up to semi-mystical proportions. None of it feels particularly convincing, but thanks to the superb performances and the playwright’s riveting staging you’re mesmerized for every one of its concise 80 minutes.

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.