From the writer of the critically acclaimed Death of the Persian Prince comes the award-winning new play, The Crusade of Connor Stephens, where extreme loss shakes a Texas family as it comes to terms with a tragic act of violence. In the midst of widespread media attention, their story becomes an allegory for the national debate over religion, tolerance and the seedlings of hate. With humor and resilience, they will confront the ghosts of the past and discover the brutal universal truths that define the American family in the 21st century.

Something strange and wonderful is happening during The Crusade of Connor Stephens (currently playing in The Jerry Orbach Theatre at The Snapple Theatre Centre on 50th and Broadway). It’s happening at every performance, I bet. Silence. Silence, complete and thorough. Audiences are giving this play their rapt attention because of the dramatic tension the director/playwright has created in this devastating, heartbreaking and timely piece. Dewey Moss’s audiences are silent because they are doing what few audiences in a Broadway, Off-Broadway or Off-Off theatre rarely do; they are listening. However, they are not just listening to the harrowing tale told by this play (seamlessly crafted by Mr. Moss and executed at times stoically or with gargantuan emotional prowess by the brilliant company of players). Audience members at The Crusade of Connor Stephens are also quietly experiencing the crushing themes that this play mines; they are experiencing tragic loss. No spoilers here, the audience is reliving the story of the tragic deaths of not one, but two children at the outset of this play. What is ultimately revealed is, well, the death of innocence itself. This is a tragic tale. This is …Read more