BUZZFEED'S BEST PLAYS AND MUSICALS OF 2018!

“Put on as part of New York Theatre Workshop’s Next Door series, Michael Breslin and Patrick Foley’s This American Wife was a show I feel like I conjured into existence through sheer force of will. But that would be discounting the genius of Breslin and Foley, who may have even more of a pathological attachment to Real Housewives (and to theater) than I do. This American Wife wasn’t just an excuse for its creators and stars to recite their favorite lines from RHOBH and RHONY — although, yes, it was that — but also a transfixing, thought-provoking exploration of the relationship between gay male identity and the conspicuous consumption of Bravo’s reality programming. It was provocative, hilarious, and (for better or worse) the most I have ever felt seen onstage. If you saw it and didn’t get it, we’re probably not a match.”

– Louis Peitzman
https://www.buzzfeednews.com/article/louispeitzman/best-theater-2018

Just as Nora has evolved in each of Ibsen’s subsequent iterations, so — Michael + Patrick might argue — should theater. If A Doll’s House paved the way for naturalism and A Doll’s House, Part 2 exemplified contemporary realism with a light theatrical touch, this sequel-to-the-sequel pushes theater as a medium ever-daringly forward once more: A Doll’s House, Part 3 is experimental, bonkers, and delightful.
— Billy McEntee, https://www.culturebot.org/2019/01/29233/noras-children-are-millennial-artists-in-a-dolls-house-part-3/
[A Doll’s House, Part 3] is a raucous, unholy communion of Ibsen-referencing, inside theater baseball, and identity politics that is darkly funny and madcap. I could have spent hours with the wackadoodle Helmer Trio...Themes of sibling rivalry, parental neglect, and inherited trauma abound... While all this might sound incongruous, there is a strong dramaturgical base (shout out to dramaturg Sibert).
— Nicole Serratore, http://exeuntnyc.com/features/review-round-up-an-exponential-festival-sampler/

This American Wife is both loving satire of the pleasures and madnesses of the franchise, and piercing examination as to why this madness is so compelling; what it offers to fans and what it says about them.

Tim Teeman, The Daily Beast
https://www.thedailybeast.com/in-this-american-wife-bravos-real-housewives-get-the-play-they-deserve

Michael Breslin and Patrick Foley’s brilliant multimedia duologue informally explores their infectious obsession with artificial Real Housewives theatrics, bravely exposing them as gay guys escaping their own realities.

— New Now Next
http://www.newnownext.com/6-new-must-see-lgbtq-nyc-theater-off-broadway/08/2018/

As Breslin and Foley start to divulge their own dark secrets, the cameras frame only their lips. Ironically, they become increasingly vulnerable and three-dimensional on stage, the direct opposite of the Housewives, who open themselves up only to gain an upper hand. It's a fascinating juxtaposition of realities

Billy McEntee, TDF Stages
https://www.tdf.org/stages/article/1967/turning-a-reality-tv-obsession-into-experimental-theatre