We've seen Robert Icke's Oedipus as a political thriller on Broadway last fall, Shayok Misha Chowdhury's revival of the choral Gospel at Colonus at Little Island in the summer (if you missed that, I recommend a tape of the 1985 production on YouTube), and now, Alexander Zeldin's The Other Place at the Shed, a version of Antigone turned into a bourgeois family drama.
One marker of the spurious issue play-a form the contemporary American theater features in surplus-is that it tends to be populated with puppets. Their inhabitants can, like the horror that is Tilly Norwood, look real, they can be loud or colorful or quirky, but ultimately they plug into a formula - they do what the playwright needs them to do. That's why it's refreshing to come across a play like Preston Max Allen's Caroline, the assured, affecting three-hander.