The Father (MTC Broadway)

"'The Father' offers one of the most disorienting experiences in town. Yet, as directed by Doug Hughes, this production exudes a cool clarity that borders on the clinical....Mr. Langella impressively played King Lear several years ago, but it’s here he nails the rage, pathos and cruelty behind that titanic part...Mr. Langella bravely makes sure that André remains an unsympathetic soul, even as his condition inspires an aching empathy." Full Review

"A mediocre productions that the star single-handedly saves from the recycling bin...Langella is fairly restrained. This makes his performance all the more effective as we watch his character’s descent into dementia—from his point of view. Admittedly this is clever writing, but it also feels slick and at times borderline gimmicky. Nor does the rest of the cast give Langella the support he deserves." Full Review

"Zeller’s disturbing drama is a highly personal study of a proud old man’s inexorable mental deterioration that is easy to admire, but quite painful to watch...There’s no real drama to the basic structure of the play, just the ruthless forward movement of one man’s inevitable fate...Langella does a superb job of communicating the conflicted feelings of a man who can’t believe—and won’t accept—the changes in his life...Director Hughes handles the material with sensitivity." Full Review

"The play keeps its audience in a continuous state of disorientation, smudging the lines between reality and misperception...Such theatrical tricks are central to the depiction of André’s crumbling state of mind—more than the dialogue or the characters, who are difficult to know very well. But this production has another special effect in the imposing form of Langella himself...'The Father' may not be deep, but its depiction of André is effective and sad." Full Review

"It's a smart, tricky, and ultimately heartbreaking look at the bewildering disorientation caused by aging, memory, and identity loss...While he has a tendency to veer into Master Thespian territory, Langella is quite extraordinary when he drops these histrionics to burrow into André's fragmented world...The rest of the cast is only adequate...Director Doug Hughes should shoulder most of the blame for the deficiencies in the performances, but they are also partly caused by the script." Full Review

"Langella at his best, yet again, and not to be missed...After all is said and done, you have Zeller’s provocative new play—already an international crowd-pleaser—and a monumental turn from the star. Hughes provides effective staging, but by this point in time one wonders whether directors have learned to simply step aside and watch Frank go." Full Review

"Langella responds to this dislocation with petulance, confusion, cruelty and anger...With the exception of a few unnecessary soliloquies, the dialogue is often powerful in its simplicity and Zeller effectively communicates a sense of existential horror lurking just below everyday chatter...Parts of the play can feel somewhat too pat...But the ending is both sentimental and searing and will probably devastate anyone who has seen a close friend or relative suffer from dementia." Full Review

"Langella gets so close to strip-mining the core of his gifts that you think he may cave in, or that you will. It’s a must-see performance. 'The Father,' though, is only a might-see play, more of a vehicle than a destination...The play defies logic at times...If 'The Father' gets only partway across the ocean on its own steam, Hughes has tugged it near to shore, and Langella docks it every night. What he does to the play is almost as pleasurable and improving as what he does to the audience." Full Review

"'The Father' cleverly employs the kind of effect perfected by absurdist playwrights, but this time for a specific, accessible purpose...Still, for all the freshness of the conceit and the cleverness of the construction, our interest flags whenever André is not on the stage...As in his Lear, Langella dominates...There is no character on Broadway now with whom we are made to feel more literal empathy." Full Review

"Zeller has found a simple yet stunning way of putting us in André's position as his ability to sort the imagined from the actual crumbles at a headlong pace. Langella's intensively detailed, utterly unsparing performance captures every hairpin turn of emotion...The seemingly self-assured older man is, step-by-step, reduced to the status of an elderly infant, in need of being held...This is a monumental performance, a modern Lear, a lion in winter no longer sure whom he is raging at, or why." Full Review

"Langella, 78, has always been a dominating actor, a throwback to those grand old-time stars of physical stature, vocal richness, heightened elocution, and elegant gestures. These attributes can sometimes make him seem theatrical, even hammy, if you will, but they work perfectly for André, even if he never was the dancer he claims to have been. Langella’s innate grandiosity only makes the pathos of André’s descent into infantile dependency that much more tragically moving." Full Review

"As a visual metaphor for the advancing isolation of an unraveling mind surrendering to dementia, the staging is certainly eloquent. It's matched by the powerful work of Langella, conveying the painful freefall from eroding dignity into infantilized helplessness...But French playwright Florian Zeller's drama is a stubbornly unemotional experience, its approach too cerebral and distancing to achieve the shattering impact that the performances demand." Full Review

"A jarring and intense drama that is told from the perspective of an 80-year-old man suffering from severe dementia...Doug Hughes’ focused production is built around an all-out, highly emotional performance from Langella that brings to mind King Lear’s extreme fall from security into chaos...'The Father' is not an enjoyable play by any stretch of the imagination. It leaves you feeling uncomfortable, roughed up and exposed. But it is a dramatically effective and culturally important one." Full Review

"Langella scales sweeping heights of magnetic stolidity and the depths of baby-like innocence, frequently at or near the same time...For how much it gets right about André, and for the vivid palette of possibilities it gives its director, it has no concrete existence of its own outside its attempts to drown you in a sea of befuddlement. Its story is adequate, but hardly captivating...There's very little here that hasn't been explored more fully in other places." Full Review

"I cannot suggest you will enjoy 'The Father,' but I promise you, you will be moved—perhaps wounded…Watching a powerful patriarch brought low is a familiar piece of theater, but when Frank Langella takes the stage, we are in another dimension…One effect needs rethinking. Scene changes are fiercely disorienting—and yes, we get it—but it’s too much...It has long been fashionable to say that Shakespeare wrote all we need to know about dementia in 'King Lear.' Until now." Full Review

"This show is Mr. Langella’s. He makes us feel the gamut of emotions and when he is cruel, we feel the slice...This show is a must for anyone who is dealing with somebody with dementia or Alzheimer’s. It is a heartbreaking picture inside their mind. Mr. Langella is definitely my pick and winner for Best Actor in a play. This play will also be on the list of Tony nominations for Best Play. Well deserved and well worth watching." Full Review

"A slick but superficial new play...It’s a meaty dramatic gambit, though not ground-breaking...At its best, Zeller’s writing is crisp, darkly humorous and emits a hushed Pinteresque chill. On the down side, the play is so sterile it sidesteps the mess that comes with mental deterioration...Fortunately, though, Langella is forever intriguing." Full Review

"I don’t think Alzheimer’s has lost its shock value, especially to a generation dealing with it head-on. But Doug Hughes’ production, with one notable exception, seems slight at 90 intermissionless minutes. The exception, of course, is Langella, giving another master class in felt performance as André regresses — devolves, really — from strong-willed fighter to whimpering babe...It’s a performance of surpassing empathy, and sadness." Full Review

"If you appreciate what a masterful actor can do with a difficult part, you won't want to miss 'The Father' because Langella is on stage for most of its 90 minutes. Is Zeller's play as unmissable? Not quite so much...Though Langella and this production pretty much justify all the hype, the twilight zone setup tends to be be as confusing as it is clever. Consequently, you may leave the theater full of admiration for the acting and staging, but without having being really pulled all the way in." Full Review

"Under Doug Hughes’ exacting and brilliant direction, the ensemble cast successfully creates a pantheon of characters that, depending on one’s point of view, are real or unreal...Frank Langella’s performance as André is mesmerizing. He slowly peels away the layers of an insidious disease with a remarkable tenderness and vulnerability...Mr. Zeller constructs a fascinating puzzle for the audience to decipher." Full Review

"It’s a smart and powerful piece of writing that is both surprising, funny at times, and deeply moving. Langella does a masterful job with this complex and unique role, holding back nothing, and giving it his all...The rest of the cast do a wonderful job...This MTC production is beautifully crafted, designed with great attention to detail and meaning...The direction of this cast by Doug Hughes is perfection...Unforgettable." Full Review

"How I wish I could say that Florian Zeller’s play lived up to the depths of its worthy ambition — much less to Langella’s silken heartbreak of a performance...All the other characters just feel like two-dimensional props for Langella’s performance. Hughes uses a flash of glaring light between scenes. The effect becomes more irritating than theatrical in a play that, for all its big intentions, never really touches the indignities and profundity of self-loss." Full Review

“Langella turns in a virtuoso performance. You may be confused, you may be shocked, you may disturbed, but you won’t be bored for a moment...In the hands of a consummate artist like Langella, the play is terrifying...Although the rest of the cast of six have nothing as momentous as Langella’s role, they acquit themselves well...Director Doug Hughes has piloted the play with a sure hand, keeping everything as minimalist as the text which resembles Pinter crossed with Ionesco.” Full Review

"The beauty and horror of seeing Florian Zeller’s play is that we’re taken inside the head of a man who’s losing his mind...Zeller has underwritten the supporting characters, and director Hughes is wise to keep those performances very understated...Zeller tells his story from Andre’s viewpoint, so it is bewildering — and not in a good way — when the playwright includes scenes that have the daughter conversing with other characters in Andre’s absence." Full Review

"His performance was better than the material. Zeller cleverly presents things from the confused point of view of the person with dementia...There’s more than a touch of Pinter lurking here...Doug Hughes’s direction is assured. Multiple short scenes are punctuated by flashing lights around the proscenium and loud strings, which becomes tiresome rather quickly. Go for the bravura performance by Langella and you won’t be disappointed." Full Review