Detroit
Playwright Lisa D’Amour “totally nails the great, deep malaise of middle-class suburbia” post-2008.
Playwrights Horizons, New York
(212) 279-4200
***
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.
Note to Mitt Romney: Here’s your chance to see how the other half live, said Jesse Oxfeld in The New York Observer. For even if the characters in Lisa D’Amour’s “tense, terrific, funny new play” may not recognize it, they are “the 47 percent.” Their inner-ring suburb isn’t necessarily near Detroit; it could well be Passaic, N.J.; Cicero, Ill.; or any community that “swelled with the postwar exodus from the cities but subsequently stagnated.” Ben (David Schwimmer), a laid-off banker, and his wife, Mary (Amy Ryan), are “hanging on, but just barely.” Yet they’re far better off than their new neighbors, Sharon and Kenny (Sarah Sokolovic and Darren Pettie). Those two are recovering addicts and flat broke, and, as we soon learn, have a host of other issues.
In an initially friendly backyard get-together, even the patio furnishings “become emblems of surprising menace,” said Charles Isherwood in The New York Times. Sharon and Kenny know all too well “how susceptible everyone’s fate is to the workings of chance,” and their radically different perspective on life stirs up deep anxieties hidden beneath the carefully maintained order in Ben and Mary’s household. “I feel like the real opportunities are the ones that fall into your lap,” Sharon tells Mary, “like winning the lottery or someone’s rich uncle needing a personal assistant.” By night’s end, the party “spirals into a delirious, dangerous bacchanal.”
But as that happens, “events become zanier and less believable,” said Jennifer Farrar in the Associated Press. “D’Amour’s writing is filled with offbeat humor and imagery,” yet she goes too far, inflicting “a series of pointless, unfunny injuries” on her characters. Actually, credibility is one of this production’s greatest assets, said Elisabeth Vincentelli in the New York Post. You soon forget Ryan’s and Schwimmer’s sitcom work—“after only a few minutes, they’re just Mary and Ben from the block.” More importantly, D’Amour “totally nails the great, deep malaise of middle-class suburbia” post-2008. Even if the cataclysmic ending seems unlikely, it only underscores the point: “There goes the neighborhood, and America, too.”
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
-
Book reviews: 'The Thinking Machine: Jensen Huang, Nvidia, and the World’s Most Coveted Microchip' and 'Who Is Government? The Untold Story of Public Service'
Feature The tech titan behind Nvidia's success and the secret stories of government workers
By The Week US
-
Mario Vargas Llosa: The novelist who lectured Latin America
Feature The Peruvian novelist wove tales of political corruption and moral compromise
By The Week US
-
How to see the Lyrid meteor shower
The explainer A nice time to look to the skies
By Devika Rao, The Week US
-
If/Then
feature Tony-winning Idina Menzel “looks and sounds sensational” in a role tailored to her talents.
By The Week Staff
-
Rocky
feature It’s a wonder that this Rocky ever reaches the top of the steps.
By The Week Staff
-
Love and Information
feature Leave it to Caryl Churchill to create a play that “so ingeniously mirrors our age of the splintered attention span.”
By The Week Staff
-
The Bridges of Madison County
feature Jason Robert Brown’s “richly melodic” score is “one of Broadway’s best in the last decade.”
By The Week Staff
-
Outside Mullingar
feature John Patrick Shanley’s “charmer of a play” isn’t for cynics.
By The Week Staff
-
The Night Alive
feature Conor McPherson “has a singular gift for making the ordinary glow with an extra dimension.”
By The Week Staff
-
No Man’s Land
feature The futility of all conversation has been, paradoxically, the subject of “some of the best dialogue ever written.”
By The Week Staff
-
The Commons of Pensacola
feature Stage and screen actress Amanda Peet's playwriting debut is a “witty and affecting” domestic drama.
By The Week Staff