When a speaker raises alternate views of a significant problem and seems at one point to take “one side” and then “the other side,” and then advocates for the purity of moral ambiguity – presenting profound rhetorical arguments for each of those points of view – the audience is left bombarded by what seemslike conflicting ethos, pathos, and logos and also is left with their heads spinning, alternately laughing and then feeling guilty for laughing and not laughing and puzzled why they didn’t laugh. And in the end, confused about what kind of catharsis has just released their repressed emotions unawares.

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“I just don't want to be one of those pathetic guys in lobbies who are always telling you about their big plans you know they're never gonna do. I'd rather just be in the lobby and just be in the lobby. To tell you the truth, sometimes I feel like I was worn out the minute I was born.” – Jeff to Dawn

Some might describe security guard Jeff (played with a disarming ambivalence by Michael Cera) as a loser. That would be somewhat inaccurate, however. Jeff is more the embodiment of the anti-hero than the typical loser unawares. To get what he wants, in this case rookie New York City cop Dawn (played with a cunning charm by Bel Powley), Jim is willing to eschew following his moral compass and disregard the qualities of the classic hero: loyalty; bravery; humility; wisdom; and virtue. How Jeff navigates the terrain of principles and values under pressure is the engaging “stuff” of Kenneth Lonergan’s “Lobby Hero” currently in revival at Second Stage’s Helen Hayes Theater.

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Ever wonder how Adam Smith might spin his own free market economic theory in the throes of the current global economic turmoil? Ponder no more. “The Low Road,” currently running at the Public’s Anspacher Theater, ends the need for further speculation. In the engaging and entertaining play by Bruce Norris, the iconic eighteenth-century Scottish economist and philosopher (played with unscrupulous charm by Daniel Davis) narrates a tale of two centuries and how his economic theory “worked out” in the gap between theory and praxis.

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When one thinks of the Jerry Springer Show (past and present), one might not think of ‘opera.’ However, in 2000, the seeds of that exact concept were planted by Richard Thomas at London’s Battersea Arts Centre with his “Tourette's Diva” and in 2001 with his “How to Write an Opera About Jerry Springer” at the same venue. The success of those productions, and teaming up with Stewart Lee, culminated in “Jerry Springer – The Opera” which has found its way to the New Group at The Pershing Square Signature Center’s Romulus Linney Courtyard Theatre.

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“Hey, I got news for you, as they say. I'm on your precious bench, and you're never going to have it for yourself again.” – Jerry to Peter

Was anyone putting the disparity between “the one percent” and the remaining “ninety-nine percent” under the cultural microscope in the late 1950s? The Baby Boomers were booming and most believed the middle-class was firmly entrenched in an ever-expanding story of financial success. Unfortunately, not enough attention was being paid to the underbelly of this post-war ebullience nor to those clinging to that nether portion of the socio-economic divide. 

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It is difficult for a script and a cast of actors, even as talented at this “King’s” cast, to compete with the reality of the headlines. The challenge comes not only from the vigor of the daily news but also from the somewhat dated material in the narrative itself. Under Thomas Kail’s uneven direction, the actors often appear to be talking “at” one another instead of engaging in believable conversation.

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Under Matthew Dunster’s keen direction, the members of the cast uniformly deliver stunningly authentic performances that honor Martin McDonagh’s rich, dark approach to disturbingly significant themes, many of which are playing out currently on the national and global stages.

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Under Oliver Butler’s direction, the actors wrestle with the plays disparate themes (perhaps too many unresolved conflicts?) with honesty. Happy Endings, guilt, fear, catharsis – all get bandied about at the play’s end with more questions raised than answers given. Whether catharsis is “innately complacent” (Playwright) or “delicious” will be up to the audience to decide. We are all, after all, amateurs at this humanity gig.

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Hammaad Chaudry’s new play, “An Ordinary Muslim,” currently running at the New York Theatre Workshop, addresses the difficulties Azeem and his wife Saima (Purva Bedi) experience in West London in 2011 and invites the audience to connect their personal histories to the experiences of Muslims globally who face the increase of nationalism in the countries where they were born or settled as immigrants.

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The 20th Anniversary Production of “Disco Pigs,” currently running at Irish Repertory Theatre, is a soul-ripping exploration of the psychological process of separation and individuation and the sometimes-painful experience of facing adulthood without what would seem requisite practice.

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Although “A Walk with Mr. Heifetz is more docudrama than drama, Mr. Inverne chooses not to document the complexities of the Jewish migration into Palestine under British rule, complexities which continue to exist in the present. Obviously, this was not the purpose of his play; however, this omission leaves the audience with only a partial understanding of the development of the State of Israel and the continued absence of a Palestinian State.

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