See it if you like an edgy, good acting piece. very good directing, show moves along nicely.
Don't see it if moves slow at one part, it does keep you interested, however, throughout.
See it if I was an outlier as a TR fan. KK's perf was stiff, but I blame the director. Her perf undermined the affair's power, but TR's still haunting
Don't see it if And the sets, costumes, staging were exquisite (water scene, suspended bedroom). Judith L was outstanding. I found TR a satisfying evening.
See it if you appreciate Keira working her a** off in her role, and a brilliant set that evokes gothic mood and features a simulated river on stage
Don't see it if you don't appreciate obvious foreshadowing, and Knightley's limitations as a stage actress - big cinematic moments over realistic gestures
See it if You like classic melodrama and/or Judith Light.
Don't see it if You dislike heavy dramas.
See it if you're looking for something a bit dark, moody, and well acted.
Don't see it if you're looking for something light and fluffy.
See it if you want to get swept up in a suspenseful romantic story with a BEAUTIFUL set.
Don't see it if you need a fast-paced show.
See it if If you enjoy a well- made play with original staging.
Don't see it if You only like theatre that tells its story in 90 minutes.
See it if you want to see a fantastic scenic design and/or are a Judith Light fan.
Don't see it if you like plays that move at a brisk pace.
"For a play that is partly about the fear of being found out, 'Thérèse Raquin' is curiously lacking in tension of any kind. It is steeped, instead, in a single shade of morbid resignation…All of the cast members seem to belong to different theatrical universes...Like these characters’ lives, their erotic encounters are nasty, brutish and short. That’s a fair description of the play in which they appear, except for the short part."
"Evan Cabnet’s production, with its handsome set by Beowulf Boritt, does atmospheric justice to Thérèse’s desperation…Helen Edmundson’s cold-eyed thriller doesn’t shy from the lurid misanthropy of Emile Zola’s 1867 novel or its gothic denouement. But it does give a sharp sense of the limited options available to women. Thérèse may be a shark—but you pity her the way you might a shark in an aquarium."
"'Thérèse Raquin' suffers from a typical case of adaptation sickness, a digestive malady that almost always results when a playwright eats a Penguin classic. Even a relatively short novel like this one offers too large a meal. The set-ups are lovely, and then comes the hasty glut…The production gets just about everything right...But no skill anyone might apply can reverse the trajectory of a story that dries up just when it gets juicy."
"Although the actors are magnetic and the Grand Guignol-accented story deliciously juicy, the play veers into overblown histrionics as Therese's hallucinations assume the full-on haunted-house effect of fingernails screeching on a blackboard. A touch more restraint in the accelerating spiral of recrimination, disgust and fear might have kept the action anchored in reality rather than melodrama."
"While it clocks in at two-and-a-half hours, the production is surprisingly fleet and contemporary in feeling...Light and Ebert bring gracefully comic touches to their characters, and the sets by Beowulf Boritt will keep audiences captivated – every scene change bears a detail that’s either subtle or dazzling. Still, Knightley is the real draw…Her raw-nerved performance proves that with or without period attire, she’s an actress who can surprise us."
"Although Evan Cabnet’s hammy direction of the first act does elicit uncomfortable laughter, the physical production is exquisite, and by the end of the act the performers have found the raw passion to leave the audience gasping…Knightley and Ryan are ravishing — and articulate — as these fierce bourgeois Macbeths, undone by their own greed and passion...The play ends as it must, in tragedy. But how we do love their misery."
"'Thérèse Raquin' is a dreary hambone that once was shocking but is now quaint, and Helen Edmundson, whose sole previous Broadway credit was the inept 2007 stage version of “Coram Boy,” has done no better by Zola. The pacing is arthritic…As for Ms. Knightley, she gives the kind of flat, underprojected performance you’d expect from an untrained Broadway debutante with limited stage experience. Her deficiencies are underlined by the excellent acting of Gabriel Ebert and Matt Ryan.”
"There might have been some fun if there were a smidgen of electricity between Knightley and Ryan. That would have offset the pervading gloom of Beowulf Boritt’s uncharacteristically dispiriting sets and the fussiness of Edmundson’s script....There’s a detachment between the stars I can only describe as fatal, no pun intended…Without heat at its center 'Thérèse Raquin' is a sexless bore."