#2
Posted: 4/16/26 at 8:49pm
Three stars from TimeOut
Broadway review: Ayo Edebiri shows her work in Proof
https://www.timeout.com/newyork/news/broadway-review-ayo-edebiri-shows-her-work-in-proof-041626
"...Edebiri, in her stage debut, really is doing too much, especially at the beginning and the end of the play. She has comic chops and a deeply sympathetic presence, but as a theater performer she is still a little wet; she overplays Catherine’s craziness, and she struggles at times to make her choices seem natural. By contrast, Cheadle’s Robert, the “bughouse” professor who fills dozens of notebooks with gibberish, is at greater ease but sometimes mellow to a fault. The more seasoned Broadway actors have the run of the stage: Ha’s Hal is layered and endearing, and Kara Young—as Catherine’s bougie and bossy sister, Claire, a currency analyst—is terrific as always, spinning out inventive riffs of comedic business while also conveying genuine concern. (Is there nothing the dazzling Young can’t do?) They all have moments, but the equilibrium is off, and the pace lags when Claire is offstage."
#3
Posted: 4/16/26 at 9:12pm
Culture Sauce
Ayo Edibiri and Don Cheadle scratch the surface of ‘Proof’ (Broadway review)
https://culturesauce.com/2026/04/16/proof-ayo-edibiri-don-cheadle-broadway-review/
"While Young teeters close to the sitcom level with an amped-up performance as the citified outsider and bullying big sister, Cheadle and Edibiri maintain an unnaturally even keel throughout, suggesting neither the flashes of genius nor the extremes of mental illness we keep hearing about."
#4
Posted: 4/16/26 at 10:02pm
NY Times
‘Proof’ Review: Ayo Edebiri as a Math Girl, Interrupted
The actress stars as a haunted genius opposite Don Cheadle as her father in David Auburn’s 2001 drama. This revival, though, exposes the play’s lack of rigor.
"Still, the father-daughter pair does, at least, perform charmingly together. Cheadle and Edebiri are both down-to-earth and unshowy in their clear affection for each other, and they’re warmly believable as parent and child. Cheadle is laid back to the point of liquidity; he’s the only star I’ve ever seen get entrance applause for lying on a love-seat. Edebiri, though, is in another league. At several points, she manages a crucial stage trick: She can seem to shrink, collapsing inward, while the audience registers an expanding sense of presence. It will serve her beautifully in other roles."
...
"With an undeniably balanced Catherine, the play’s core mystery evaporates, and we see the flaws in the script more clearly. A play that I remember as being about thought now strikes me as dangerously lacking in that quality; a character I remember as complicated is, in fact, just a palatable gloss on actual dysfunction."
#5
Posted: 4/16/26 at 10:02pm
NY Stage Review
Proof: Calculated Brilliance
By Roma Torre
★★★★★ David Auburn's Pulitzer Prize winning play reemerges as a beautifully calibrated study of genius, love and doubt.
https://nystagereview.com/2026/04/16/proof-calculated-brilliance/
Proof: 25-year-old Pulitzer Winner Proves to Be Even Better Than Before
By Steven Suskin
★★★★★ Ayo Edebiri heads the cast in Thomas Kail’s production of the David Auburn play
https://nystagereview.com/2026/04/16/proof-25-year-old-pulitzer-winner-proves-to-be-even-better-than-before/
#7
Posted: 4/16/26 at 10:05pm
The Guardian
3 stars
Proof review – Ayo Edebiri struggles but Kara Young soars in Broadway revival
The Bear star and Don Cheadle are lost in a new take on David Auburn's family drama but a standout performance from the two-time Tony winner does some heavy lifting
"when the more dramatic, plot-advancing mechanics of the play churn into motion, Edebiri quickly loses her grasp on the performance, devolving into a jumble of stammers and tics that increasingly isolate us from Catherine’s humanity. It is as if she is becoming the living embodiment of Catherine’s most hyperbolic fears about her mental health, a cliche of addled behavior that stands in harsh contrast to the relative plainness and naturalism of Auburn’s writing."
...
"Thank goodness, then, for Young, a late-in-rehearsals replacement who brings a much-needed clarity to this fraught domestic scene. The two-time Tony winner (in back-to-back years, no less) is crisp and legible as the frustrated, guilty Claire, who has subsidized the lives of her father and sister but regrets her absence from the house in the most difficult years. It’s a dialed-in, no-frills performance, which is what the role, and the play, require. She keeps the thing afloat"
#8
Posted: 4/16/26 at 10:05pm
The Wrap makes it about the Obamas for some reason
‘Proof’ Broadway Review: The Obamas Deliver Mixed Results With Their First Theatrical Venture
The former president and first lady’s Higher Ground stage an uneven revival of David Auburn’s play starring Ayo Edebiri and Don Cheadle
https://www.thewrap.com/creative-content/reviews/proof-broadway-review-obama-ayo-edebiri-don-cheadle/
#9
Posted: 4/16/26 at 10:07pm
Deadline
‘Proof’ Review: ‘The Bear’ Star Ayo Edebiri Serves Up Transfixing Broadway Debut In Mathematical Mystery Play
https://deadline.com/2026/04/proof-broadway-review-ayo-edebiri-don-cheadle-kara-young-1236861306/
"With a rapport that conveys the deep love and prickly exasperation of the father and daughter they portray, Edebiri and Cheadle immediately stake a claim to the stage of Broadway’s Booth Theatre – where the play opens tonight – a claim they’ll share soon enough with two equally fine actors (Jin Ha and the always astonishing Kara Young), all to bring life to Auburn’s extraordinary work that originally debuted on Broadway in 2000 and went on to win both a Tony Award and a Pulitzer Prize."
#10
Posted: 4/16/26 at 10:07pm
"I know now that theatre saved my life." - Susan Stroman
#11
Posted: 4/16/26 at 10:09pm
B from Entertainment Weekly
Proof review: Ayo Edebiri plus Don Cheadle equals an intriguing Broadway revival of Tony-winning play
The Tony-winning play returns to Broadway in a star-studded revival directed by Thomas Kail.
https://ew.com/proof-review-ayo-edebiri-don-cheadle-broadway-11949024
"Edebiri, in her Broadway debut, brings forth a winning performance as Catherine. It's clear that she sees the character's many contradictions and embraces them wholeheartedly, often taking casual conversations and turning them on their head with a perfectly-timed cutting remark that makes the entire theater hold their breaths. Still, she remains playful in her portrayal of the flawed young woman too, managing to bring a real youthfulness and vulnerability to her too — especially when paired opposite Young and Cheadle. For all of her tough exterior, Edebiri succeeds in making Catherine a character that you're aware is far from perfect, and yet you can't help rooting for regardless."
#12
Posted: 4/16/26 at 10:10pm
Theatermania
Review: Ayo Edebiri and Don Cheadle Try to Solve a Precise but Passionless Proof
https://www.theatermania.com/news/review-ayo-edebiri-and-don-cheadle-try-to-solve-a-precise-but-passionless-proof_1832726/
"Proof is so structurally sound that any production can have an impact, which is both a gift in theory and a potential liability in practice. Both sides of that equation are why Thomas Kail’s current Broadway revival at the Booth Theatre is generally effective, but rarely as emotionally charged as it should be. It is rock-solid in its competence, which is ideal for the newcomers in attendance to see stars Ayo Edebiri and Don Cheadle up close. But those who know how thrilling this play could be will find themselves wishing for Kail to have done anything to test the play’s mathematical precision."
#13
Posted: 4/16/26 at 10:13pm
2 1/2 starts from NYP
‘Proof’ review: Ayo Edebiri and Don Cheadle star in underpowered Broadway revival
https://nypost.com/2026/04/16/entertainment/proof-review-ayo-edebiri-and-don-cheadle-star-in-underpowered-broadway-revival
"Admirably, hers is a very different portrayal of Catherine than any I’ve seen before. At times, it’s a very moving one. And, while Edebiri’s interpretation won’t please everybody or even gel with all the beats of the play — particularly older sister Claire and new friend Hal’s sexist insistence that Catherine couldn’t possibly be a math wiz — the actress’ sheer modernity helps prevent “Proof” from feeling too retro.
Phew. Because director Thomas Kail certainly isn’t helping her on that front.
On a bright University of Chicago backyard set by Teresa L. Williams that could be used on dark nights for “Home Improvement Live!,” the man who staged “Hamilton” sheepishly delivers an uninspired checklist of basic entrances and exits while batting away the many artistic possibilities Auburn’s script provides."
#14
Posted: 4/16/26 at 10:25pm
Frank J. Abella from The Contending is positive
Keenly directed by Thomas Kail (Hamilton, Sweeney Todd revival), this revival plays like an absolutely riveting thriller right up until the final moments. I was also impressed with the lighting (by Amanda Sieve) during scene changes.
Edebiri, who is onstage for most of the show, does wondrous work, shifting from depressed and lethargic to excited and game, as needed. Her Catherine is a fascinating enigma. Is she nuts? Brilliant? A bit of both? What is clear is the toll caregiving has taken on her and anyone who’s ever cared for an ailing parent and then lost them will appreciate the despair and exhaustion she conveys. It’s a Tony-worthy turn.
[...]
You don’t have to be a math nerd to appreciate Proof—although if you are, that’s certainly a boon. The play is about love and family and that fine line between brilliance and madness. Sadly, the reverberating theme of how society tends to minimize and even discard the contributions of women, is still timely today–perhaps even more so than 25 years ago.
#15
Posted: 4/16/26 at 10:55pm
DTLI Consensus: There are moments of brilliance among the acting performances in this revival, and the text is as biting as ever, but the math doesn’t quite add up in the end.
7 positive, 6 mixed (including the NYT).
https://didtheylikeit.com/shows/proof/
“I am furious, but I am sailing.”
#16
Posted: 4/16/26 at 11:51pm
Kara Young with the best notices, 5th nomination is a lock
#17
Posted: 4/17/26 at 1:15am
Young works in the show. Not sold she's at all a "lock" in this category filled with excellent women in better shows.
Liberation: Betsy, Aidem, Kayla Davion, Irene Lucio & Kristolyn Lloyd were ALL standouts and deserving of a nomination.
Salesman: Laurie Metcalf
Becky Shaw: Linda Emond
Marjorie Prime: June Squibb, Cynthia Nixon
Giant: Aya Cash
Dog Day Afternoon: Jessica Hecht
Anne Reid (Oedipus), Victoria Clark (Punch), Tracee Chimo (Fallen Angels), Anika Noni Rose or Marylouise Burke (The Ballusters ) etc etc.
Young is good - but not sure there is anything new, unique or a standout in this particular performance that we haven't seen. Some new blood in the mix would be nice - with great performances.
Updated On: 4/17/26 at 01:15 AM
#18
Posted: 4/17/26 at 1:20am
My predicted five are Aidem/Hecht/Metcalf/Squibb/Young, with Nixon, Cash, Rose and Emond close behind.
#19
Posted: 4/17/26 at 1:22am
I think Emond and at least another Liberation woman edge out Young this year (maybe Hecht too).
#20
Posted: 4/17/26 at 1:23am
CoffeeBreak said: "Young works in the show. Not sold she's at all a "lock" in this category filled with excellent women in better shows.
Liberation: Betsy, Aidem, Kayla Davion, Irene Lucio &Kristolyn Lloyd were ALL standouts and deserving of a nomination.
Salesman: Laurie Metcalf
Becky Shaw: Linda Emond
Marjorie Prime: June Squibb, Cynthia Nixon
Giant: Aya Cash
Dog Day Afternoon: Jessica Hecht
Anne Reid (Oedipus), Victoria Clark (Punch) etc etc.
Young is good - but not sure there is anything new, unique or a standout in this particular performance that we haven't seen. Some new blood in the mix would be nice - with great performances."
“Better shows” don’t always equal nominations. It’s fascinating to watch you latch onto shows and people you don’t like and try to smear their validity at every turn. 🙄
#21
Posted: 4/17/26 at 1:25am
BWW PROOF - 71.3 % reviews
BWW review analysis percentages:
NEW MUSICAL - 6 : Titanique (74.4), Two Strangers (Carry A Cake Across New York) (73.5), The Queen of Versailles (40.0).
MUSICAL REVIVAL - 5 : Cats - The Jellicle Ball (90.6), Ragtime (82.4), Mamma Mia! (68.0), Chess (62..
NEW PLAY - 8 : Little Bear Ridge Road (90.0), Liberation (89.3), Giant (77.2), Punch (71.9), Call Me Izzy (65.0), Fear of 13 (58.4), Dog Day Afternoon (51.3).
REVIVAL OF A PLAY - 11 : Marjorie Prime (84.7), Becky Shaw (84.4), Oedipus (84.3), Death Of A Salesman (84.1), Bug (80.6), Every Brilliant Thing (79.1), Proof (71.3), Art (69.0), Waiting For Godot (67.4).
* UPCOMING OPENINGS * - 7
Fallen Angels, Schmigadoon!, The Balusters, Beaches, The Rocky Horror Show, Joe Turner's Come and Gone, The Lost Boys (with the most rehearsal/tech/preview time) .
Updated On: 4/17/26 at 01:25 AM
#22
Posted: 4/17/26 at 1:40am
Ensemble1698878795 said: "
“Better shows” don’t always equal nominations. It’s fascinating to watch you latch onto shows and people you don’t like and try to smear their validity at every turn. 🙄
"
No one is smearing validity. It's an opinion. I voice it. You voice yours - but only against mine. Thanks again, non-specific "ensemble95" name. It's interesting what the critical mass says - NO ONE said they were better because of reviews - and in fact sometimes they don't translate into nominations. Well aware. But it's interesting to include where they landed in the aggregate mix from site the board is on. next.
There are a LOT of great Supporting performances by women in plays this year. Others need flowers who are doing great work too. I've truly enjoyed so many this season with my partner.
Updated On: 4/17/26 at 01:40 AM
#23
Posted: 4/17/26 at 7:03am
Ensemble1698878795 said: "“Better shows” don’t always equal nominations. It’s fascinating to watch you latch onto shows and people you don’t like and try to smear their validity at every turn. 🙄"
The conversation is about predicting who gets into an awards category. Get a grip.
#24
Posted: 4/17/26 at 9:13am
KevinKlawitter said: "My predicted five are Aidem/Hecht/Metcalf/Squibb/Young, with Nixon, Cash, Rose and Emond close behind."
Mine are (in no order) - Metcalf, Young, Squibb, Aidem, and Nixon, with Reid as a potential sixth (the category is flush with potential for expansion).
Although MTC performers are usually all considered featured by default crediting, after seeing THE BALUSTERS, I think they may try to make a case for Rose to go in Leading, and possibly Richard Thomas as well
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#25
Posted: 4/17/26 at 11:17am
CoffeeBreak said: "The Lost Boys(with the mostrehearsal/tech/preview time) ."
I take your word that this is true for the Broadway production, but one should also point out that it's the only new musical not to have had one or more previous productions, so it makes perfect sense that it would need more time to work the kinks out before an official opening.
Updated On: 4/17/26 at 11:17 AM
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