A Grindr Rendezvous Reimagined

If you wander down Christopher Street in Manhattan’s West Village, you’ll sense a certain creative pulse reverberating through the neighbourhood. That artistic hum is set to intensify as Out of the Box Theatrics, in association with Ice Berg Productions, presents Danny Brown’s AS TIME GOES BY from 1 to 23 March, with an official opening night on 9 March. The piece unfolds at 154 Christopher Street—a suitably off-the-beaten-track venue for a show that embraces the precariousness of modern love, digital connections, and personal truth. Noah Eisenberg directs, weaving theatrical alchemy out of a Grindr date that morphs into a profound human encounter when snow traps the two participants indoors together.

Stepping into the roles of this unlikely duo are Ephraim Birney and Joel Meyers, who will conjure the fragile chemistry that sparks whenever two strangers are forced to confront each other’s idiosyncrasies at close range. We’ve seen similar premises in romance films or comedic sketches, but rarely do we get to witness such an intimate scenario play out in a live, stage-bound space. Add a snowed-in element, reminiscent of The Shining minus the horror (presumably), and you have a formula that promises tension, empathy, humour, and—just maybe—a spark of genuine connection.

A Chance Meeting

Even in a city saturated with theatrical offerings, AS TIME GOES BY manages to stand out. For one thing, data from the League of Off-Broadway Theatres and Producers shows that intimate two-person plays often attract a particularly dedicated audience—lovers of raw, stripped-back theatre where every pause, glance, or shift in posture matters. And while plenty of musicals feature vast ensembles and elaborate set changes, there’s something irresistible about the simplicity of a two-hander. It’s akin to watching two acrobats, with no safety net, navigate the high wire of human relationships in real time.

Moreover, the thematic anchor of this piece hits close to home for many. In 2022, a Pew Research Centre study found that more than 30% of Americans have used an online dating app. The speed with which one can arrange an in-person meeting—sometimes minutes after exchanging a few text messages—has normalised ephemeral encounters, but also opened the door for surprising authenticity and vulnerability when expectations shift. By building the narrative around a Grindr hookup, AS TIME GOES BY illuminates both the comedic potential and the emotional stakes of hooking up in a digital era. It’s a topical exploration of how we connect and why we sometimes run for cover as soon as emotions get too real.

The Production Team

Of course, a compelling script and talented actors can only fly so far without a skilled team sculpting the environment. AS TIME GOES BY calls on scenic designer Baron E. Pugh to transform the stage into a cosy, snowed-in apartment that feels appropriately claustrophobic. We can anticipate the hush of falling snow just outside the window—a design challenge that might be met with strategic lighting, courtesy of Eric Norbury, and subtle audio flourishes devised by sound designer Ryan O’Dea. Although the script itself might not require epic set pieces, the smallest details—such as the oppressive quiet of a snowstorm or the glow of a phone screen in the darkness—can amplify the emotional currents.

Intimacy on stage can be tricky, especially when the entire plot hinges upon a romantic or sexual premise. That’s why the presence of an intimacy coordinator, Kimi Handa Brown, stands out. Over the past decade, the role of intimacy coordinators has become an essential aspect of modern theatre, ensuring actors feel safe and respected when portraying physical closeness or vulnerability. If done well, the audience hardly notices the mechanics behind it; they just sense an undeniable chemistry and authenticity in the performers.

Jess Gersz’s costume design is another potentially fascinating piece of the puzzle. In a story set around a snowstorm, practical winter wear might function as more than just aesthetic flair—it can embody the protective layers each character starts with, slowly peeling off as the emotional temperature rises. Whether or not the script leans into metaphor, the costumes can quietly contribute to the sense that these two men are thawing out, both literally and figuratively, as the night unfolds.

Emotional Weather

While AS TIME GOES BY is, on the surface, about a random hookup forced into an extended stay, there’s a deeper truth in the scenario. How often do we allow ourselves to be so completely vulnerable with a stranger? One key aspect that might surprise audiences is how rapidly laughter, embarrassment, and tenderness can converge when external factors (in this case, a blizzard) remove the possibility of a polite escape route. Much like the thick blanket of snow that keeps the two men inside, an emotional layer builds between them—preventing either from easily retreating behind small talk or a carefully curated dating profile.

Consider how so many modern relationships (romantic or otherwise) are shaped by illusions of control: the quick block or unmatch option when a conversation turns awkward, the infinite scrolling that promises the next best person is just a swipe away. By yanking away the exit strategy, the play confronts the characters—and, by extension, the audience—with what remains when you can’t run off to the next distraction. The journey from surface-level flirting to genuine understanding could be an enlightening reflection of how connection can deepen under extraordinary circumstances.

Casting And Coordination

The Telsey Office has long been a heavyweight in theatrical casting, so it’s no surprise that Charlie Hano oversaw the process for this show. It’s an affirmation that the creative team is serious about ensuring the chemistry between Ephraim Birney and Joel Meyers resonates. The synergy of those performances might well determine if the play clicks, since even the best script can falter without the right dynamic.

Also worth noting is the presence of Abi Rowe as production stage manager and Sarah Samonte as assistant stage manager. Stage managers are the unsung heroes of theatrical endeavours, ensuring everything from timing the cues to rallying the actors to addressing last-minute crises. When your cast is only two people, there’s little room for error. Every line, every sound cue, every change in lighting must be executed with pinpoint precision. Knowing there’s a dedicated management team at the helm suggests a production that will run smoothly, even if the narrative revolves around chaos and unpredictability.

Special Promises And Observations

For seasoned theatre enthusiasts, this show may echo past two-handers that managed to capture lightning in a bottle—productions like Frankie and Johnny in the CLAIR DE LUNE or CONSTELLATIONS, which soared on the dynamic interplay of two actors navigating shifting emotional landscapes. Yet AS TIME GOES BY stakes out its own space. The dating-app theme is distinctly contemporary, speaking to a generation for whom the line between online fantasy and genuine human connection is increasingly blurred.

One might expect comedic banter peppered with nervous laughter, but there’s also likely to be a soft underbelly of unspoken hope that resonates with anyone who’s ever found themselves on a date that unexpectedly left them changed. If initial hints from rehearsals hold true, we can brace for tender, cringe-worthy, and perhaps deeply poignant moments, all culminating in a thoroughly modern commentary on how strangers can slip through our defences when we least expect it.

As the biting February winds start to fade into the gentler breezes of early spring, heading to 154 Christopher Street for AS TIME GOES BY might be just the ticket if you crave a dose of comedic tension paired with heartfelt warmth. This new two-hander defies the expectations of your average “romantic comedy”—venturing instead into that peculiar limbo where enforced isolation lays bare unvarnished truths.

After all, in theatre, as in life, it’s often the moments you don’t plan that illuminate who you really are. Perhaps you’ll leave the venue remembering the last time a random event—like a freak storm—threw you together with someone new. Maybe you’ll recall the ridiculous yet life-affirming realisation that sometimes you need an unforeseen circumstance to let down your guard. The ephemeral closeness that emerges in those instances is exactly the magic that theatre can capture so well. And if AS TIME GOES BY can distil that potent mix of humour, longing, and vulnerability into 90 minutes on stage, then trust me: you won’t want to miss this remarkable storm of a show.