Christian Lewis (they/them/theirs) is a queer nonbinary freelance theater critic with bylines in Did They Like It?, American Theatre, BroadwayWorld, Theatermania, the Brooklyn Rail, Out, and others. They co-host the podcast What’s Up Broadway? They are also a PhD candidate at the CUNY Graduate Center.
December 6, 2021
It appears that one of the major vibes, if you will, of post-quarantine theatre is tension, in particular claustrophobic, interpersonal tension that builds between people stuck in a small space or a single room. This mood permeates recent plays including Pass Over, Dana H, Is This A Room, Last of the Love Letters, The Fever, and now, Sylvia Khoury’s Selling Kabul at Playwrights Horizons. Of course, these plays all or mostly pre-date the pandemic, and yet after so much time being stuck inside, they feel different, more intense and real than ever before. The notion of a single-room play is nothing new, but now, after many of us have been living single-room lives, they have a newfound relevancy and relatability. They haunt us in ways that feel familiar.