LIBERATION Previews

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?

Did any of us see tonight’s first preview?

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.

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

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 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

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.

All the actors are doing incredible work.

Too bad the play itself is not as great as their efforts.

Definitely worth seeing before it closes.

Ptero2 said: "Susannah Flood, Betsy Aidem, and Irene Sofia Lucio are doing some incredible work in this. I hope they get remembered come Tony nominations."

Absolutely, incredible, important play for women just like Suffs.

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?"

For what it's worth, I really hated this at the Pels and I know several other people who also didn't like it. I'm not sure it's a space issue, I just don't think it's a very good play.

Saw this this afternoon and wished I had seen Punch instead. I will assume that I missed something because I am a male, but i also didn't see anything new.

I thought it was well acted...there was not a weak link in the cast. My favorite performance, ironically, was by the woman who played the mother of four sons, probably the smallest role in the show.

I was never bored, which is usually the case when I don't like or are indifferent to a straight play.

I thought the extended nude scene was pointless. They could have had them play the same scene in their underwear and it would not have mattered.

I found the time period occasionally confusing, i.e., is she herself or her mother right now. I thought the conceit of having another actor play her mother was unnecessary, although the two actresses who played the mother were both excellent in the roles.

My biggest takeaway: The Jones Theatre is IMO now the most beautiful theatre in New York. I don't know how much the Shuberts spent on the renovation / extension (really lucky that there was available space next to the Cort for expansion)., but they were totally successful. Actually, I take that back. The theatre is gorgeous, the restrooms are a major improvement, but the space between aisles is still the same, and I thanked my lucky stars I had an aisle seat, so I could stick them in the aisle when I got uncomfortable. I am 5'11". Guess that space between aisles issue is not going to change.

I haven't seen it since the restoration of the illuminated latticework proscenium. I love that 1910's American hodgepodge style... it is vulgar but it is also super charming. It is as significant a period in American design as Art Deco, just not as championed. And when it is restored correctly, you realize that it wasn't meant to be taken completely seriously. It was meant to be a bit silly and over the top.

https://schulershook.com/projects/james-earl-jones-theatre

Updated On: 10/23/25 at 08:31 AM

Leaving the show now and I agree with the above, it’s even stronger now than it was before. The play is absolutely brilliant. Both hilarious and devastating, it’s one of the best new plays in years and if anything deserves to find an audience, it’s this one.