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Off Broadway

He Says: Everybody: Enough Said is Too Much, and Not Enough

He Says: Everybody: Enough Said is Too Much, and Not Enough

Hey Everybody, I don’t quite know what to say about Everybody, the strange existential experiment that is going on over at the Signature Theatre. This is definitely one of those productions that anything I tell you, and I truly mean anything, will dampen the original and unique experience one will have sitting in that audience with Everybody. From the moment it starts to the moment it ends, one will have to accept the journey that we are being taken on by director, Lila Neugebauer. It’s a brief 90min engagement of our five senses, our minds, our love and understanding as we dive into a modern riff on the 15th Century morality play Everyman. It will take strength and resilience to get on board for the ride that we take with Everybody, hopefully with our friends, with our lovers, our cousins, and our siblings. It’s one for all, and all for one, if you are accepting of the journey that one can take with Branden Jacobs-Jenkins, the playwright of Everybody. Or you can just count on love to carry you through.

Lakisha Michelle May

Is it worth the time that we will give or is it the equivalent of death in the theatre, only you can answer that. I had a hard time staying attuned to the dream-like experience, although the dancers in the darkness were pretty spectacular to see (simplistic and exacting design work by: Laura Jellinek/scenic; Gabriel Berry/costume; Matt Frey/lighting; Raja Feather Kelly/choreography). The gimmick is interesting but slight and definitely not thoroughly intoxicating. I shut my eyes and tried to free float through the dream at moments as the dialogues in the dark washed over me with less and less impact (great sound and original music by Brandon Wolcott), because the road being traveled was pretty inevitable. The cast does an impressive job engaging in all those roles. How many are involved and who do they play? I’m not even going to tell you that, but know that their hard work is fun and appreciated, especially the hilarious Jocelyn Bioh and Marylouise Burke.

So I’ve told you a lot while telling you very little (I hope). Did I like it? I liked all the stuff and the bad shitty things that we see. It made sense and was witty and funny at times.  But I wish I was more fully engaged with my mind and my heart, as the journey that Everybody takes is huge in topic and scope, but this play just didn’t feel big enough. Or deep enough. It is an experience though, one to enjoy and hopefully be inspired by in a way that I can’t tell you. Honestly, I can’t. So enough said. And nothing exposed. I hope. For a cast list, cause I’m not letting any surprises out of the bag, click here. And don’t say I didn’t warn you…
So for more, go to

Off Broadway

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to

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