What has changed over the years, especially off -off Broadway, is that a lot of past, very good experimental theaters , have gone too much in the way of #metoo, LGBTQ and police aggression against blacks.
I have seen some pretty good #metoo plays and a few above references as well, however, it seems like this is all that is coming out these days and it is so much so that it is repetitive. Most of all the off- off Broadway I saw this year dealt with these three subjects. The problem is that it takes away the novelty of the subjects which I speak of.
Cathedrals like, Playwrights Horizon and The Public Theater have comprised both the talent as well as subscribers to both Theater Companies. Over the past year, the talent pool of plays has dropped parcipitusly.
The eighties, nineties and well into the 2000’s we saw a tremendous diversity of plays from a vast amount of writers. From the Variety Theater to the West Village, we were entertained on a grander scale. Today, however, we are force fed the same three topics over and over again. We are grateful when s play like Private Peaceful comes out, or a Before Were Gone. Audiences feel like they hit the mother- load when they fall upon a Himself and Nora.
For off -off Broadway to stay strong, we need shows like Other Peoples Money and Vampires Lesbian of Sodom. We need the raucousness of Perfect Party and shows like Plenty that started out at The Public, only to make it to Broadway.
Throwing the same three genres at audiences over and over again will hurt some of the iconic theaters. The East Village in particular needs to look at what the Frankel Theater is doing. Happy Birthday Wanda June moved up to the Duke Theater and is doing well their.
Theater companies need to start getting creative again or they risk losing their fan base. With many great writers out there in the wings, off-off Broadway needs to start looking for new creative things to put on their stages.