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October 23, 2024

The play needs to take the audience by the hand and lead it to and through the most nightmarish depths of Delia’s illness, when she is in the hospital, begging to die. Instead it abruptly drops us there and expects us to switch from comedy mode to drama.

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October 23, 2024

Left on Tenth is a slight endeavor – slighter, probably, than a cancer odyssey has any right to be – and certainly falls short of better Ephron Sister efforts. Even so, there can be only one response to it, and that’s well wishes for all.

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October 21, 2024

Is there anything less dramatic on stage than people sending each other email messages?

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New York Theatre Guide
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Allison
Considine

October 23, 2024

But the play, based on Ephron’s bestselling memoir, may have a greater impact on the page than the stage. And while it would make a charming rom-com film, it doesn’t fully translate to theatre.

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Usa Today
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Patrick
Ryan

October 23, 2024

But despite its very best intentions, the play is frustratingly surface level, rarely delving beyond Hallmark card sentiments about taking the good with the bad. At 100 minutes, the show hastily whips through a life’s worth of milestones and minutiae, told mostly through verbose exposition delivered directly to the audience.

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New York Stage Review
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Melissa Rose
Bernardo

October 23, 2024

Ephron’s experience is powerful and affecting, but some stories simply don’t translate from the page to the stage.

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New York Stage Review
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Frank
Sheck

October 23, 2024

Director Susan Stroman works tirelessly to infuse the static proceedings, which too often feel like an audiobook, with theatricality. But she tries too hard, embellishing scene transitions with musical and dancing interludes that feel jarringly out-of-place.

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October 23, 2024

Ephron’s bio-play might’ve turned out better had she handed her memoir to a different, less precious writer with a better grasp of what works onstage. As it stands, what’s at the Jones right now is a wannabe rom-com that delivers neither rom nor com.

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October 23, 2024

And while both of these actors are honest, vulnerable and appealing — no faint praise — they are not delivering bravura stage performances. I’d argue such zig-zaggingly internal material does not really allow for such performances anyway.

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October 23, 2024

Directed by Susan Stroman, Left in Tenth has the energy and the color scheme of a drugstore greeting card: This is a cheap-looking production, from Beowulf Boritt’s jankily angled set to Jeanette Oi-Suk Yew’s blotchy projections and the least realistic prop drinks you’ll ever see.

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