As for the offerings at the Signature actually produced under the Signature banner …
Personally, I’ve found this to work better for Eno with the plays that have a number of cast members. With The Open House and The Realistic Joneses, I was happily on board for the ride, and I think that’s because when ambiguity is paired with interaction—at a high enough level, that is, and Eno may well be carving out his niche as America’s New Millennium answer to Pinter—there’s at least the suggestion of story to fill in, of relationships (and their complexity) to wonder at.
Another experimental work is on the Signature mainstage: a free adaptation of Everyman, the classic, anonymous mystery play (as in Bible mystery), here titled Everybody and delivered in contemporary colloquialism by Branden Jacobs-Jenkins.
In Everyman, God announces his dissatisfaction at mankind’s obsession with material wealth and commands Death to summon Everyman to heaven to make his reckoning. Upon receiving the message, a distressed Everyman begs for more time, which is denied him. But Death allows him to take a companion—if he can find one. And so Everyman goes through the roster of possibles, all reflections of human nature: Friendship, Kinship, Beauty, Love and etc.