Apoloholics
Written by Mary Coriglian; Directed by Nora Alexander
Presented by the New York City Fringe Festival
Chain Mainstage | 312 W 36th St. 4th floor, New York, NY 10018
April 1 at 6pm, Wed April 8 at 7:40pm, Sat April 11 at 10:20pm & Mon April 13 at 7:40pm
How often do we say “I’m sorry” when nothing requires it? I’m guilty of it myself, working for years to unlearn what has become a reflex. Sometimes the apology arrives before the thought, before the moment has even asked for it.
The house music sets the tone before the piece even begins: Sorry pulses with remorse, Too Little Too Late pushes past apology into release, and Flowers blooms into self-sufficiency. Together, they frame a central question: when does apology become habit, and when does it become erasure?
Set on a bare stage with only chairs, Apoloholics leans fully into storytelling. What initially feels like a support group reveals itself, through Mary Corigliano’s sharp and thoughtful writing, as a series of vignettes anchored by a visual line chart of her lifetime of “I’m sorrys,” spiking and dipping with experience. It’s a simple but striking device that grounds the emotional arc of the piece.
The stories unfold in layers. Personal experiences sit alongside broader societal reflections: a nurse navigating empathy as both duty and burden; a woman trapped in a painful relationship; moments of vulnerability that clash with social expectations. These are juxtaposed with larger cultural dynamics, from corporate non-apologies to identity-based struggles where simply existing can feel like something to apologize for.
The ensemble is strong and cohesive, with each actor taking on multiple roles while maintaining clarity and individuality. There is a palpable sense of joy in their performance, even as they navigate heavier material, which makes the piece feel alive and collaborative.
Written by self-proclaimed “apoloholic” Mary Corigliano and directed with clarity and care by Nora Alexander, the production balances humor and introspection with ease.
Standout moments include Corigliano’s reflections on childhood insecurities, from being the tallest kid in class to being teased in locker rooms. Marguerite A. Boone brings warmth and honesty to the experience of new motherhood. Gabby Franco Ferro offers a thoughtful exploration of identity, reflecting on what it means to be Afro-Latina within a culture that does not always acknowledge that complexity. Blair Tate delivers a grounded and affecting portrayal of a woman caught in a 13-year relationship marked by gaslighting. Zack Watson takes on multiple roles, culminating in a poignant reflection on the damaging weight of gender expectations, including the loss of a friend who felt unable to share his sexuality.
Apoloholics is both intimate and expansive, asking us to consider not just why we apologize, but what it costs us when we do it too often. It’s a moving reminder that sometimes the most powerful statement is not “I’m sorry,” but silence, self-acceptance, or simply standing firm in one’s truth.
Click HERE for tickets.
Review by Malini Singh McDonald.
Published by Theatre Beyond Broadway on April 2, 2026. All rights reserved.
