Off Broadway’s new hit about love, faith, and Brooklyn is “absorbing, twisty, and thoughtful—and the finest play of the year” (The Wall Street Journal).
In The Wanderers, two couples from very different worlds face the joys and challenges of commitment, culture, and community—until a surprise email from a movie star puts one of their marriages to an unexpected test. Now extended through April 2 only, this “perfectly cast, superlative Roundabout Theatre Company production” (as The Wall Street Journal goes on to say), asks the vital question, Can we ever be happy with what we have while we have it?
"This absorbing, twisty, and thoughtful play is the finest play of the year!" – Charles Isherwood, The Wall Street Journal
“A charming, deeply moving new play—it sparkles!” – Elysa Gardner, New York Sun
“The Wanderers lasts only 105 minutes, yet effectively and expertly holds enough storylines for a half dozen lesser plays.” – Robert Hoffler, The Wrap
Visit roundabouttheatre.org
Call 212.719.1300
Or visit the Harold and Miriam Steinberg Center for Theatre Box Office: 111 West 46th Street, New York, NY 10036
But “The Wanderers” is far more playful than profound, an exercise in clever storytelling that involves not one, but two big plot twists - one gradually revealed; the other, seismic - and features that glamorous movie star character. As in her 2017 play “The Last Match,” which was presented at the same theater, Roundabout’s Laura Pels, and which also focused on two couples in challenging relationships (rival tennis players and their spouses), Ziegler comes up with some novel stagecraft that doesn’t completely work, but feels largely satisfying nonetheless. And in “The Wanderers,” she collaborates with the well-cast performers and director Barry Edelstein in creating five absorbing characters.
It’s hard to say too much about the premise of Anna Ziegler’s The Wanderers without spoiling the primary enjoyment you get from it, which is learning how exactly Ziegler has entwined her characters, her plot unfolding like a kid’s paper fortune teller. The frustration in the Roundabout’s staging is that it doesn’t keep up with the script. The director, Barry Edelstein, takes a steady, dutiful approach to something that is trying to reach toward more abstract reckoning, and by the end, the staging starts to do it a disservice.
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