That would include the text of this fervently performed piece that’s the most effective show I’ve seen from the emerging Nu Sass Productions.

Director Angela Kay Pirko underlines this resonance with torn-from-the-headlines images on screens neatly camouflaged among bookshelves.

- Nelson Pressley

Marx in Soho may technically be a one-person show, but Myers, under Angela Kay Pirko’s measured and naturalistic direction, does great work to include the audience in the piece.

Part of the intimacy of the show can also be attributed to Jessica Cancino’s set design, which transforms Caos on F into a cozy, mid-1800s study, credibly filled with books, papers, and worn-in furniture. The lighting (E-hui Woo) and sound (Hope Villanueva) are subtle, and work together to further the convincing feeling of being in someone’s—even a long-deceased someone’s—home.

Marx in Soho is both entertaining and enlightening, giving you some things to think about long after you’ve left the theater.

- John Bavoso

Nu Sass’ latest Small Batch production is Howard Zinn’s one-actor Marx in Soho. It is another highly successfully, nervy production by Nu Sass with it mantra, “strong women, great theatre.”

Under the shrewd direction of Angela Kay Pirko, Marx in Soho is, thankfully, not simple nostalgia for a bygone time aimed at Baby Boomers who think themselves ex-revolutionaries from 1968. Pirko has made sure that the production is also not a force-feeding of classic resistance literature like unwanted, but good-for-you, spinach or broccoli for Millennials.

The comfy, drawing room set is designed by Jessica Cancino with lighting design by E-hui Woo, and the striking sound design by Hope Villanueva.

- David Siegel