NEW YORK CITY—Are certain people truly destined to be together? Can time and separation dull the connection lovers once had or instead show them what has been missing in their lives? These are some of the questions explored in the intimate two-person drama, “Shifters.” Written by Benedict Lombe, the show is now at the Cherry Lane Theatre in Greenwich Village through Sept. 20.
In the town of Crewe, England, approximately 150 miles from London, 32-year-old Dre (Daniel Ezra) attends the wake for his beloved grandmother, a woman who took him in when no one else would; the event has begun to wind down. As he muses about the attending uncles and aunties and the somewhat cut-throat practice regarding taking home leftovers, he’s stopped in his tracks when he spies Des (Charity Bedu-Addo), also 32 and the one great love of his life who he has not laid eyes on in eight years.
Taking place on a mostly bare stage, the play unfolds as a series of shifts in time, from Des and Dre’s first meeting approximately 16 years earlier when they were classmates, through the present day. As the years move forward, their relationship changes from one of mutual annoyance to wary frenemies, debating team partners, best friends, and, finally, lovers—until different priorities drive them apart.
Now with completely different lives and personal and professional commitments literally an ocean apart, the question that hangs silently in the air as they stare at each other and attempt to make small talk is whether either of them is willing to try again.
Lombe has written a compelling story, with every situation presented coming off as completely authentic. It certainly helps that large sections of what is spoken feel almost lyrical in nature. It is through the characters’ dialogue and inner monologues that we begin to learn exactly who these two people are and, just as importantly, what they have been running away from.
In an ironic twist, it’s what Des and Dre have in common rather than any differences that may be the ultimate obstacle. Each carries painful memories relating to abuse or emotional neglect. Examples of the latter include the loss of loved ones coupled with the bitter realization that some of those who remain have started new lives and families without them. In trying to prevent such future pain, both have built emotional walls so high they have a difficult time letting anyone in. They instead find it easier to pull away rather than to be completely open with one another.
One thing that is never in doubt is the intense emotional connection between these two individuals—brought to life by the powerful chemistry between Bedu-Addo and Ezra. They play off one another perfectly. In fact, there are times one becomes so invested in what is unfolding that a viewer just wants to yell at the characters to declare their trapped feelings, rather than continue as they are.
Ezra is excellent as the outwardly sure-of-himself Dre, always ready with a quip, comment, or accusation—such as when he tries to get an answer out of Des why she suddenly ghosts him at one point. Yet his confident air hides a deep fear of rejection, so much so that he’s afraid to fight for the one thing he genuinely wants.
Bedu-Addo marches Ezra beat for beat as the seemingly always-in-control Des (short for “Destiny,” a subject discussed in the play more than once). She sets the tone for the two’s evolving relationship early on. She has a nice moment when she marvels at how much Crewe has changed—particularly its bus station—since she was last there. Yet just like Dre, she has trouble making her true feelings clear. This makes the times the two are finally, fully honest with each other even more heartbreaking.
Direction by Lynette Linton is well-focused, allowing the performers to bring their characters to the fore as the piece slowly builds, while never making anything feel too overblown or maudlin. Key here is the excellent work by lighting designer Neil Austin, sound designer Tony Gayle, and composer and soundscape designer Xana, with their efforts combining to make the different time shifts feel in perfect sync with the story. Work by scenic designer Alex Berry also nicely fits the tale.
The only problem can be the characters’ accents. Dre has a Nigerian background and Des has roots in the Congo. Although both are British, their cadence sometimes makes it hard to completely follow the dialogue.
A story about two star-crossed souls who contemplate their futures even as they are forced to confront the past, “Shifters” shows how true commitment needs far more than an everlasting love. It also requires being honest with yourself and with the one with whom you want to spend the rest of your life.
‘Shifters’
Cherry Lane Theater
38 Commerce St., New York City
Tickets: CherryLaneTheatre.org
Running time: 1 hour, 45 minutes (no intermission)
Closes: Sept. 20, 2026
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