Grace
“Broadway isn’t often the place to ponder big questions,” which is why the ambition of Craig Wright's play is striking.
Cort Theatre, New York
(212) 239-6200
***
Subscribe to The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.

Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
“Broadway isn’t often the place to ponder big questions,” said David Rooney in The Hollywood Reporter. That’s why the ambition of this 2004 Craig Wright play is striking. Four characters lie dead in the opening scene, and as Grace proceeds to unpack the events that led to the carnage, it brings God’s existence under interrogation and explores “the gray zone separating divine intervention from fate.” A sterling quartet of actors—led by Paul Rudd as a born-again Christian who, in the play’s extended flashback, is trying to launch a chain of Jesus-themed hotels—proves deft in handling the writing’s subtleties. This Broadway premiere “won’t be for everyone,” but it generates a compellingly unsettling mood.
Unfortunately, the time-rewinding device feels like “a lot of fussy bric-a-brac” veiling the play’s loose ends, said Scott Brown in New York magazine. Grace has moments: There are “a couple of flawlessly uncomfortable scenes” in which the optimism of Rudd’s evangelical collides with the despair of his Florida neighbor, a former NASA scientist (Michael Shannon) who’s recently been disfigured by a car accident. Playing a jaded pest exterminator, Ed Asner helps make the show “highly watchable” throughout, in part because Wright is able to “pass power, offense, and attack back and forth between characters like nobody’s business.” But it’s clear early on that Rudd’s character doesn’t stand a chance against his next-door rival, while his wife, played by Kate Arrington, comes off as “just another inchoate woman getting rag-dolled between rampaging males.”
“If Grace is remembered in years to come,” it will be because of Boardwalk Empire’s Shannon, said Ben Brantley in The New York Times. As the wounded man he portrays begins questioning his atheism and falls for his neighbor’s wife, Shannon’s “electrically anxious acting”gives weight to the character’s plight. “Grace isn’t as intellectually unsettling as it means to be,” but Shannon gives it “achingly human impact.”
Sign up for Today's Best Articles in your inbox
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
What are the different types of nuclear weapons?
The Explainer Speculation mounts that post-war taboo on nuclear weapons could soon be shattered by use of 'battlefield' missiles
-
Floral afternoon teas to enjoy during the Chelsea Flower Show
The Week Recommends These are the prettiest spots in the city to savour a traditional treat
-
How to plan a trip along the Mississippi River
The Week Recommends See this vital waterway from the Great River Road
-
If/Then
feature Tony-winning Idina Menzel “looks and sounds sensational” in a role tailored to her talents.
-
Rocky
feature It’s a wonder that this Rocky ever reaches the top of the steps.
-
Love and Information
feature Leave it to Caryl Churchill to create a play that “so ingeniously mirrors our age of the splintered attention span.”
-
The Bridges of Madison County
feature Jason Robert Brown’s “richly melodic” score is “one of Broadway’s best in the last decade.”
-
Outside Mullingar
feature John Patrick Shanley’s “charmer of a play” isn’t for cynics.
-
The Night Alive
feature Conor McPherson “has a singular gift for making the ordinary glow with an extra dimension.”
-
No Man’s Land
feature The futility of all conversation has been, paradoxically, the subject of “some of the best dialogue ever written.”
-
The Commons of Pensacola
feature Stage and screen actress Amanda Peet's playwriting debut is a “witty and affecting” domestic drama.