Interludes

VIEWPOINTS – The heartache of love: The New York transfer of Benedict Lombe’s SHIFTERS, the world premiere of Bubba Weiler’s THE SAVIORS

• By drediman
• July 31, 2026
• No Comments

This past week Off-Broadway, I encountered a pair of carefully crafted new dramas — one a stylized depiction of a cosmic love across time and space; the other a fiercely naturalistic piece set at an excruciatingly specific point in time — that expound on love’s capacity to induce heartache, once again exemplifying that some of the most interesting theatrical works are being mounted far from the bright lights of the Great White Way. As per usual, read on for my thoughts.

SHIFTERS
Cherry Lane Theatre
Through September 13

Transferring to the fabulously revitalized Cherry Lane Theatre from across the pond is Shifters (RECOMMENDED). Written by Benedict Lombe, the two-hander received critical success when it premiered at London’s Bush Theatre, subsequently transferring to the West End, where the production received Olivier Award nominations for Lombe’s play, as well as for the actress Heather Agyepong for her leading performance. Spanning over 16 years, the play chronicles the on-again-off-again romance between Des and Dre, two friends who develop an intimate connection over the years. In many ways the play — including its staging — is reminiscent of Nick Payne’s Constellations in that it collapses time and space into a swirling series of rapid fire scenes that come together, puzzle-like, to assemble into a kaleidoscopic portrait of the pair’s relationship. Given that it unfolds in a non-chronological/linear manner, Lombe’s work is also a meditation on the nature of time and memory. And as a Black love story, Shifters is a welcome addition to the growing array of perspectives depicted in the theatrical canon. Indeed, there’s something distinctly Nigerian-Congolese — even mythic — about the duo’s interactions, which are alive with double-meanings, shifting dynamics, and a playful “tug-of-war”-like dance. There’s also disarming tenderness and vulnerability sprinkled throughout, rendering their relationship terrifically multi-faceted. Agyepong reprises her potent performance as the sassy yet defensive Des. The actress is at her most compelling, however, when portraying the character’s hesitancy and skiddish demeanor (for which there is a reason; no spoilers here). Joining her for the ride as Dre, an exuberant young man with a chip on his shoulder (again, no spoilers here), is Daniel Ezra, who is a newcomer to the production. I’m happy to report that the naturally charismatic actor is every bit a match for his formidable co-star. Most importantly, their chemistry is dynamite, which overcomes the tonal monotony that occasionally sneaks into the script. As intimately staged by director Lynette Linton (kudos particularly to the dynamic lighting and sound design work), audience members are seated on two sides of the action, effectively allowing them to eavesdrop on Des and Dre’s intimacies, from the mundane to cosmic, life-altering moments.

THE SAVIORS
Atlantic Theater Company
Through August 15

Atlantic Theater Company’s summer offering at the Linda Gross Theater is The Saviors (HIGHLY RECOMMENDED). Written by Bubba Weiler and directed by Jack Serio — the team behind the gorgeous play Well, I’ll Let You Go (which received a highly acclaimed remount last season  courtesy of Studio Seaview) — I’m happy to report that their follow-up effort is just as affecting. Set in an unspecified Catholic church in the Midwest, the new play follows two teenage altar boys — MIchael and Paul — as their faith and friendship are tested when a mysterious interloper enters the picture (no spoilers here). The play is at its most beguiling in its depiction of adolescent first love (i.e., Michael’s intense devotion to and budding love for Paul), the kind of foreign feeling that defies rationale and hits you like a ton of bricks. Given the specificity of Michael’s dilemma — while he is the epitome of religious devotion, his body/emotions are drawn magnetically towards Paul (which squarely contradicts his faith) — the drama unfolds with the kind of emotional transparency that allows you to feel every bit of the character’s anxiety, every step of the way. As in his Well, I’ll Let You Go, Weiler here continues to have a disarming knack for simultaneously capturing the quiet desperation and comic absurdities of life in his carefully-woven dialogue. The performances from the play’s quartet of actors are superb across the board, each registering with honesty and truthfulness. Both Julius Rinzel and Ivan Howe deliver uncannily convincing performances as, respectively, Paul and Michael. In their own way, each portrayal rings with unadorned authenticity (the script insists that actual young teenagers be cast in the two roles). As their youth group leader, Crystal Finn has already given us one of the most memorable performances of the year (she was so outrageously deadpan in Nadja Leonhard-Hooper’s Derangements, one of the productions of Clubbed Thumb’s Summerworks series last month), and here she once again proves her mettle as a woman who is doing her best to keep head above water as she attempts to shed her past struggles. As her troubled son, the appropriately disheveled Stanley Simons is pretty ideal in the role. Lastly, the direction by Serio — one of his most naturalistic stagings to date — beautifully brings out the immense humanity of the play.