Read the Reviews for Off-Broadway's Blindness, a Socially Distanced Sound Installation

The Verdict   Read the Reviews for Off-Broadway's Blindness, a Socially Distanced Sound Installation
 
The Daryl Roth Theatre welcomes back audiences for a fitting story about finding hope in darkness.
<i>Blindness</i> at the Donmar Warehouse
Blindness at the Donmar Warehouse Helen Maybanks

The reviews are in for the Off-Broadway run of Blindness, one of the first in-person theatrical offerings to welcome audiences since the coronavirus shutdown.

The Simon Stephens piece, narrated by Olivier winner Juliet Stevenson and based on José Saramago’s dystopian novel, uses sound and light effects (including binaural headphone technology) in lieu of live performers. The story charts perhaps familiar territory—a sudden pandemic—that leaves its victims without sight.

Read what critics thought below. Playbill will continue to update this list as more reviews come in.

Deadline (Greg Evans)

New York Magazine/Vulture (Helen Shaw)

New York Stage Review (Roma Torre and Elysa Gardner)

The New York Times (Maya Phillips)

Observer (David Cote)

Theatrely (Juan A. Ramirez)

Performances began April 2 at the Daryl Roth Theatre in Union Square. Safety protocols include a reduced capacity of 100, temperature checks, mask requirements, two-person pod seating arrangements, enhanced ventilation, and routine sanitization.

The Walter Meierjohann-helmed production premiered at London's Donmar Warehouse in August last year. It features sound design by Ben and Max Ringham, lighting by Jessica Hung Han Yun, and additional designs by Lizzie Clachan. Additional creatives in the U.S. include Markus Potter (associate director), Chris Cronin (associate sound designer), and Gina Scherr (associate lighting designer).

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The Verdict
Read reviews of the latest Broadway, Off-Broadway, London, and regional productions.