Weather 
The North American premiere of America, Who Hurt You?, a new solo play written and performed by Tony Award winner Sarah Jones, is now playing Off-Broadway.
Directed by Eric Ting, the production will run through September 27. America, Who Hurt You? follows Jones as she transforms between multiple characters while exploring America’s history, identity, and divisions through comedy, storytelling, and personal narrative. See what the critics are saying…
Jackson McHenry, Vulture : Jones is, as she’s proven throughout her career, immensely adept at capturing a multitude of personae with quick shifts of posture, timbre, and accent, though in this case, a sameness comes with recounting so much recent political conversation. Often, it feels as if you’re hearing a chorus ported in directly from X, or perhaps Bluesky.
Matthew Wexler, 1 Minute Critic: In the evening’s final moments, Jones invites the audience into a collective physical gesture, reminding us, “you are each your own unfinished revolution.” The weight of that offering, in a country on a crash course for self-destruction with a president whose administration would rather demolish one of our greatest cultural institutions if his name doesn’t appear on it, feels nearly unbearable to carry.
But Jones, who’s built a career by diving headfirst into other people’s voices, proves otherwise.
Laura Collins-Hughes, The New York Times: This show means to hold in its heart all of this country. It has yet to find its tonal balance, or acquire the heft that it needs to land more substantially. Like the nation, though, it’s still in a state of becoming. So we can hope.
David Barbour, Lighting and Sound America: Perhaps another director might have guided Jones to a more forceful performance; Eric Ting seemingly gives her free rein when another editorial eye might have served her better. America, Who Hurt You? is both diverting and unsatisfying, a call to action that lacks the passion that this moment arguably requires. The world moves very, very fast these days. Jones’ observations might have landed with more force a couple of seasons ago. Right now, they feel like too little, too late.
Jonathan Mandell, New York Theatre: Before the show began, an usher outside the auditorium pointed to a display that included an optional card to fill out – “Name a movement, gathering, or moment that is beautiful about America” – and two wicker chairs with “America the Beautiful” cushions festooned with some of the responses that audience members had already written. There was everything from the Knicks win bringing New Yorkers together to No Kings rallies to America’s rivers. It felt almost like a counterpoint to what unfolded on stage. Perhaps, depending on what happens in November, she can bring it all on stage in a sequel.
Michael Sommers, New York Stage Review: Much of this sad but true U.S. history—accompanied by TED talk–style timeline graphics presenting years such as 1776, 1619, and 1492—likely will prove familiar to the adult demographic who attend productions at TFANA. Trying not to wave an admonishing finger, Jones delivers platitudinous observations (“You can’t pretend that good is all that exists and ignore the rest”) with all the considerable talent and empathy she can muster as an artist, but stretches of her material are scarcely revelatory, let alone stirring or memorable.
Average Rating: 68.3%
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