LIBERATION Previews

[EDSOSLO858]

Posted: 10/7/25 at 12:00am

After a critically lauded Off-Broadway stint earlier this year, Liberation begins uptown at the James Earl Jones Theatre starting tomorrow (October 8). Bess Wohl’s memory play features Betsy Aidem, Audrey Corsa, Kayla Davion, Susannah Flood, Kristolyn Lloyd, Charlie Thurston, Adina Verson, and Irene Sofia Lucio. Whitney White is the director; an official opening is scheduled for October 28, and it will play a brief run through January 11.

“1970s, Ohio. Lizzie gathers a group of women to talk about changing their lives, and the world. What follows is a necessary, messy, and bitingly funny exploration of what it means to be free, and to be a woman. In Liberation, Lizzie’s daughter steps into her mother’s memory — into the unfinished revolution she once helped ignite — and searches the past to find the answer for herself.”

Who’s free to catch this one?

[EDSOSLO858]

Posted: 10/8/25 at 11:53am

Show's official website says approximate 2:30 running time, including a 15-minute intermission. 

Updated On: 10/8/25 at 11:53 AM

[EDSOSLO858]

Posted: 10/8/25 at 11:32pm

Did any of us see tonight’s first preview?

[ColorTheHours048]

Posted: 10/11/25 at 8:13am

I saw the second preview on Thursday night and have been mulling over my feelings about it before posting. I feel torn, because on one hand, I shed several tears listening to the personal stories of these women; and on the other hand, my mind immediately wandered any time the fourth wall was broken or they started talking about the movement.

Everything actually about the radical acts they attempted felt deliberately pat and generalized to earn the final moment of the play where we learn that, no, what we saw over the last two plus hours wasn’t actually accurate because how could it be? We’ve taken their work so for granted that we couldn’t possibly see it clearly for what it was. Therein laid my issue with the evening as a whole: it tries so hard to show the reality of these womens’ lives while simultaneously holding that reality at a distance for its own means. To me, that’s a cop out and comes off as Bess Wohl saying “I wanted to write a radical play about women’s lib, but I’m not actually radical myself.” Well then… write a different play.

Some of the individual performances were wonderful though, and worth pointing out. Susannah Flood, Betsy Aidem, Kristolynn Lloyd, and Irene Sofia Lucio all turned in excellent performances worthy of nominations, and I hope they receive them. Aidem’s work, in particular, is stellar (her daily routine monologue and final scene are knockouts). The rest of the ensemble certainly has moments, but I didn’t feel the quality of acting carried across the board. And I’d cut the dude completely.

Overall, I walked away feeling a bit disappointed and reminded why I tend to be incredulous when someone recommends a Bess Wohl play.

Updated On: 10/11/25 at 08:13 AM

[ggersten]

Posted: 10/12/25 at 5:14pm

Daughter went today on a 30under30 ticket. I don't have details other than "it was good" and that they locked audience phones on entry to the theatre. 

[malcs98]

Posted: 10/12/25 at 7:56pm

I saw the matinee today and I know what I’m about to say may sound hyperbolic: but this is not only one of the best plays I’ve seen this year but probably one of the most important of this decade. Coming from an aspiring performer, to witness this ensemble quite literally bare it all and be both physically and emotionally vulnerable is one of the most radical, courageous and inspiring acts I’ve ever witnessed on a Broadway stage. 

Updated On: 10/12/25 at 07:56 PM

[quizking101]

Posted: 10/12/25 at 10:40pm

I was at the evening performance and I’m decidedly mixed. I didn’t hate it, but I do think I was oversold on its greatness.

This decade seems to be Bess Wohl’s “Mommy Issues” era since between this and Grand Horizons, it seems like she’s trying to work through some things about her mother on stage. The first act has a remarkably similar setup to Prince F@ggot in the sense that one actor comes out and starts talking to the audience as the rest of the ensemble files in, and then they launch into the play from the framing device that they are all portraying people of the past. However, this line is often ever shifting and fluid and sometimes it’s hard to keep track of who is playing what and the message they are trying to communicate - which is more often than not very general platitudes of second wave feminism. By the end of the first act, with all of their personal shares and monologues, I felt like I just sat through my Women/Gender Studies core course from college. (My minor).

Act 2 picked things up, but it made use of Kayla Davion in a very weird way, as she appears in Act I for literally a few seconds. She absolutely ate her dual roles (to where I could see a Featured Actress/Play nom for her), but she never feels like she’s written fully into the ensemble dynamic (which may be on purpose, but it’s very oddly executed). By the end, like a previous post mentioned, every “radical act” (including the nude scene) felt very pat and generalized. Davion, Aiden and Lucio are the MVPs of the night and could easily see any one of them end up with a Tony nomination. Also, the nude scene that opens Act II really made me miss REAL WOMEN HAVE CURVES something fierce.

I was sitting around this group of Gen Z kids in the mezz (some of whom aren’t aware that natural deodorant doesn’t work) and they whisper chatting multiple times during the show. Yet, in the end, they almost seemed to have these whole crying fits. I know theatre touches everyone differently but I continue to rack my brain to figure out what exactly was the trigger point for the tears.

Updated On: 10/13/25 at 10:40 PM

[Ensemble1698878795]

Posted: 10/13/25 at 12:49am

This play moved to Broadway because of critical hype not actual demand. It was stamped as an “important play.” But as some of you have noted it isn’t fulfilling. Everything doesn’t have to transfer to Broadway. Curious to see if it catches on commercially. Talented cast, but when I saw it Off Broadway I was perplexed. 

[Jordan Catalano]

Posted: 10/13/25 at 1:20am

So interesting to see the responses here. I haven’t seen this on Broadway yet but i really loved it at the Pels so I’m curious if something is just lost in the transfer?

[quizking101]

Posted: 10/13/25 at 6:57am

Jordan Catalano said: "So interesting to see the responses here. I haven’t seen this on Broadway yet but i really loved it at the Pels so I’m curious if something is just lost in the transfer?"

While I did not see it at the Pels, knowing the difference in venue size, I could easily clock that this is an intimate show in a not so intimate space. I was in the rear mezzanine and so while I had a full stage picture, I didn’t feel closeness to the performances.

[Fordham2015]

Posted: 10/13/25 at 7:12am

quizking101 said: "I was at the evening performance and I’m decidedly mixed. I didn’t hate it, but I do think I was oversold on its greatness.

This decade seems to be Bess Wohl’s “Mommy Issues” era since between this, Mother Play, and Grand Horizons, it seems like she’s trying to work through some things about her mother on stage.

Paula Vogel wrote Mother Play, not Bess Wohl

[quizking101]

Posted: 10/13/25 at 7:33am

Fordham2015 said: "quizking101 said: "I was at the evening performance and I’m decidedly mixed. I didn’t hate it, but I do think I was oversold on its greatness.

This decade seems to be Bess Wohl’s “Mommy Issues” era since between this, Mother Play, and Grand Horizons, it seems like she’s trying to work through some things about her mother on stage.

Paula Vogel wrote Mother Play, not Bess Wohl"

Ahhhh. Thank you. 

[raddersons]

Posted: 10/16/25 at 10:31am

Got some absolute raves from friends who saw this over the weekend. I adored it at the Pels. I think I need to go again now that it’s on the big stage. 

[Ptero2]

Posted: 10/16/25 at 10:35am

Susannah Flood, Betsy Aidem, and Irene Sofia Lucio are doing some incredible work in this. I hope they get remembered come Tony nominations.