Adrian Dimanlig

Adrian Dimanlig is a critic with Interludes. This account has been auto-generated, and does not indicate that this person is an active member of Show-Score.com. That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.

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Reviews (63)
Julie Madly Deeply
Midtown E
Interludes

"In essence, the work is a well-informed love letter to one of entertainment’s biggest icons, Dame Julie Andrews...Ms. Young is a lovely presence, and she possesses a pleasant, bright soprano voice, which she skillfully wields throughout the evening. Even if the show, tidily directed by Russell Lucas, perhaps doesn’t dig as deep as it should, Ms. Young’s genuine love and benign obsession over Ms. Andrews is infectious, handily winning over the audience." Full Review

Handbagged
Midtown E
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"'Handbagged' covers much of the same ground as films such as The Queen and The Iron Lady. However, unlike those stately movies, Ms. Buffini and Ms. Rubasingham have infused historic events with theatrical wit and a welcome lightness of touch, even if the play loses some momentum in the second act...The acting is top-notch and convincing all-around, particularly tricky given the play’s need for old/young versions of both dueling grand dames." Full Review

Continuity
Midtown W
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"Ms. Wohl has a gift for wickedly weaving in big themes and ideas into seemingly pedestrian premises. In 'Continuity,' she skillfully accomplishes this in several subtle but unexpected revelations that change how the audience observes the proceedings, and by extension, their own lives. Unfortunately, the playwright is less successful at creating fully believable characters." Full Review

High Button Shoes
Midtown W
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“While the show does have a charming score...it pretends to be nothing more than pure fluff...The 'Bathing Beauty Ballet'...is a complete delight and almost worth the price of admission in itself...Unfortunately, everything else...is uninspired and falls flat. Curiously, the cast is devoid of life and chemistry despite the presence of some well-credentialed performers...It’s not that terrible, but just okay for this marquee series isn’t nearly good enough.” Full Review

Caroline's Kitchen
Midtown E
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“Torben’s play is a hot mess, which somehow contributes to its enjoyment factor, if unintentionally. The play starts off innocuously enough, but as we learn more about the characters, the gross luridness of it all takes center stage...Luckily, the production – directed by Alastair Whatley – is excellent, admirably covering up the play’s slightly disjointed structure and flimsy premise, as well as managing to sustain the play’s momentum without feeling like forced entertainment.” Full Review

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"Escobar’s play, at least in its current state, is muddled and confusing. She has plenty of interesting ideas that never coalesce into a compelling dramatic narrative. The strongest element of the production may very well be the feverish and creative staging by director David Mendezabal...Unfortunately, the acting is pitched at an exasperatingly high decibel. There’s a lot of unnecessary shouting across the board, as if the cast is compensating for the play’s deficiencies." Full Review

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"I was a moderate fan of the playwright’s previous two efforts...Although 'The Pain of My Belligerence' doesn’t change my views on Ms. Feiffer as a playwright, it is certainly not without merit. Individual scenes – complete with Ms. Feiffer’s biting and perceptive dialogue – are compelling, particularly the first two...However, as a whole, the play doesn’t quite hold together...Luckily, a slick staging and some very strong acting save the day." Full Review

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"The Mad Ones’ latest delves further into naturalism, potentially risking losing the audiences in the process...A triumph in meticulously calibrated and crafted theatrical realism. Now a known commodity, director Lila Neugebauer once again shapes the piece with her trademark attention to detail...The ensemble cast is impeccable, creating fully-formed characters out of subtle looks and gestures. To single any one out would be to do the others a great disservice." Full Review

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"The work straddles genres – opera, experimental theater, spoken word – so genuinely that to restrict the recognition of its considerable, wide-reaching merits would be to do it a disservice...The work travels time and space with aggressive frequency that it leaves the mind spinning. But for lovers of more abstract theatrical experiences, there are few shows currently playing in the city that approach the meticulous execution and rich layers of 'Norma Jeane Baker of Troy.'" Full Review

Faust 2.0
East Village
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“The sheer scope of the post-everything production is actually kind of astonishing. The piece packs in so many references and influences from all sorts of spheres that it’s all rather dizzying. This ‘throw spaghetti on the wall’ approach is what makes the show rather exciting, unpredictable, and ultimately frustrating. At the end of the day, I can’t help feeling that Mabou Mines has bitten off more than it can chew...The play feels overstuffed and overlong, despite the efforts of a game cast.” Full Review

Perp
Midtown W
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“There’s a fascinating play somewhere in Kessler’s meandering new work...As it stands, the play and production still feel like they’re searching for the right identity. Although I applaud Kessler for exploring the flaws in the criminal justice system, his play unfortunately registers a bit too indistinct and schematic...Brock’s admittedly well-acted production doesn’t help matters by staging the play without a compelling point of view or strong dramatic arc, both of which it needs.” Full Review

White Noise
East Village
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"It’s only as the play unfolds that Ms. Parks eventually weaves in the inevitability and heightened urgency associated with the larger canvas of Greek tragedy...Eustis, the Public’s enthusiastic artistic director, has guided the work with unnerving lucidity, bringing Ms. Parks’ provocative ideas to the fore with care and stinging evenhandedness...As Leo, Daveed Diggs is just about ideal as the play’s troubled nexus, giving a slow-burning, wonderfully-calibrated performance." Full Review

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"Some may find the musical’s frenetic energy and juvenile worldview tiresome. I, however, found these qualities to be actually refreshing, but perhaps unintentionally...Stephen Brackett’s tight, peppy staging remains a treat. He’s aided by a tireless, pumped-up cast of just ten, all of whom appeared in the Off-Broadway edition of the show. It’s a joy to see these young, hardworking performers." Full Review

Actually, We're F**ked
West Village
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“Williams’ play is an accessible but telegraphed affair. The playwright clearly has an agenda that he wants to cover, and he does so efficiently...but at a price. In order to set up diametrically opposing arguments, Williams has assembled four archetypical characters, who ultimately come across as two dimensional clichés...Nevertheless, the play’s individual scenes are snappily-written and exude an undeniable workmanlike quality that keep it all hanging together." Full Review

The Cake
Midtown W
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"What makes her play truly stand out is the way it deftly and stealthily takes on important, topical social issues in the guise of warm, wholesome comedy...As Della, Debra Jo Rupp delivers a winning, deceptively layered performance that mirrors the qualities of the play itself...Even if the rest of the cast doesn’t balance the sweet-and-savory qualities of their respective characters quite as masterfully, they provide Rupp’s performance and Brunstetter’s play more than adequate support." Full Review

Bonnie's Last Flight
East Village
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"Although it can be argued that the play’s agenda is scattered and slightly unfocused, it can also be said that it’s this seemingly random, dreamlike quality that gives the piece its unique charm and vivacity. 'Bonnie’s Last Flight' has been staged with wit and a keen sense of parody by up-and-coming director Annie Tippe. It’s also acted with giddy panache by its cast of six." Full Review

Boesman and Lena
Midtown W
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“The first half of the play is a steady slow burn – which some may find tedious – that’s heavy on atmosphere and limited on plot. But when an unforced interloper enters the scene, deep-set emotions are triggered, resulting in a series of confrontational scenes that combust. The production is directed...with a solemn, bleak severity that befits the play...Ngaujah and Jah are superb, paradoxically delivering their lines with lilting musicality and furious intensity. It all makes for riveting th... Full Review

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"Director Ciaran O’Reilly has outdone himself by transforming the intimate Greenburger Mainstage into a run-down Dublin tenement...Despite its reputation as nascent — even second tier — O’Casey, the play is efficiently structured, building powerfully to a tension and paranoia-soaked climax. As for the production, it’s top notch and reeks of quality. I’ve already mentioned Mr. O’Reilly’s enveloping, beautifully-detailed staging, but ultimately the success of any play lies in its acting." Full Review

Mies Julie
East Village
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"Searingly and forcefully acted by her quartet of fearless actors, particularly her lustful pair of young star-crossed lovers. Although the play runs only 75-minutes, I was on the edge of my seat throughout was left breathless by the play’s combustible conclusion." Full Review

Behind the Sheet
Midtown W
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“I applaud Simpson for tackling a subject matter that hasn’t been explored very much...She’s treated it with respect, skillfully and objectively laying out the facts and letting the prejudices of the times speak frankly for themselves...Although the play’s resolution seems a bit fudged, the playwright has managed to create compelling, three dimensional characterizations that mostly avoid caricature...The production has been expertly directed by Colette Robert." Full Review

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“Times have changed since the mid-1970s, and what was revolutionarily frank at the time is now occasionally cringe-worthy. But it’s Michael Bennett’s masterful and laser-focused direction has kept the show relevant and requisite viewing for any aspiring musical theater artist...This is the fifth production of ‘A Chorus Line’ I’ve seen, and though it may not be at the top of my list, it’s quite a good one...The principals were particularly fine." Full Review

Mother of the Maid
East Village
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“Anderson’s play tells the familiar story of Joan of Arc, but with a twist...Anderson has penned a sturdy play that effectively draws us in...Her semi-colloquial dialogue is refreshing in its directness...‘Mother of the Maid’ relies solely on its emotional wallop to make an impact, which it does...Close is majestic and passionately fervent...Van Patten gives a luminous, no-nonsense performance...The rest of the cast is top-notch...directed with lucidity and coherence by Penn.” Full Review

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"The premise is particularly rife for parody, and no one is spared in Ms. FastHorse’s hardworking but ultimately very funny comedy. Her play is very self-aware, and hence its tone can come off as somewhat self-congratulatory. But as I grew accustomed to and surrendered myself to this stylistic choice, I reveled in the cartoonish excessiveness of it all. At the end of the day, 'The Thanksgiving Play' earns its plentiful laughs." Full Review

Neurosis
Gramercy
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“The writing is never less than accessibly entertaining. Green’s music is tuneful and jaunty, while Edwards’ lyrics are bright and astute without being condescending...As for Rice’s good natured book, it’s tightly structured if a tad limited in scope. Even if ‘Neurosis’ doesn’t quite delve into the more complicated aspects and dark underbelly of the neurotic condition, I didn’t really mind...’Neurosis’ knows exactly what it wants to be, and it executes wonderfully on its promise." Full Review

Shadowlands
Midtown W
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“A somewhat pat though nonetheless touching drama...The sturdily-written play is nothing less than competent. The cast is solid, and is led admirably by Gerroll as Lewis and Abramson as Gresham. Both excel at finding the nuances in their characters’ initial odd couple relationship, and are endearing as their love blossoms. It’s to the actors’ great credit that I was genuinely moved when the admittedly old fashioned story takes a turn upon Gresham’s illness.” Full Review

Square Go
Midtown E
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"A hyperactive, physically demanding two-hander about two powerless Scottish youths, the fictitious Max and Stevie. The play exuberantly examines masculinity and male aggression, particularly in counterpoint to the vulnerability and pain often underlying such behavior. Finn den Hertog has directed the piece as a sort of belligerent pas de deux for its two actors, which is both thrilling and exhausting to watch." Full Review

Something Clean
Midtown W
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“An astonishingly confident play...Watching the play gave me the disorienting sensation of constantly being on shifting ground. It’s a feeling that’s not dissimilar to real life, which gives the play an ambiguous, contemporary authenticity that many similar new plays don’t quite fully achieve. That Fillinger achieves this with grace and considerable emotional potency is a testament to her talent...The production also features the exemplary work of a trio of excellent actors.” Full Review

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“A compelling ferocious revival...Luckily, director Terry Kinney...balances the tricky tone of 'Curse of the Starving Class' compellingly, which is a relief given the lopsided nature of the piece...The third and final act seems a bit rushed and eager to bring the story to its conclusion. Nevertheless, the cast is excellent, fearlessly handling the text’s demanding ricocheting between absurdity and intense – often ferociously violent – realism." Full Review

Passage
Soho/Tribeca
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"Tremendously compelling...thanks largely to Mr. Chen’s considerable technical skill as a playwright. In his hands, 'Passage' efficiently crystalizes highly nuanced issues and situations with scalpel-like precision, resulting in pointedly realized scenes. Suffice to say, Mr. Chen’s play drew me almost immediately with their superbly articulated narrative and perspectives...The superb cast of eight bring tremendous transparency and humanity to their carefully delineated roles." Full Review

Playing Hot
Midtown W
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“Clearly the work of young, enthusiastic, but relatively inexperienced theater-makers. Johnson and Armento’s book is erratically structured and unintentionally borders on parody. Even the central character...comes across as two-dimensional...Despite these criticisms, I nonetheless still ended up having fun. Indeed, when 'Playing Hot' drops its pretensions of being a musical and commits to simply playing Bolden’s music, it thrillingly lives up to its title..” Full Review

All My Sons
Midtown W
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"The current cast is enticing and successful. Together with veteran stage director Jack O’Brien, they’ve produced one of the very best revivals of the season...Miller has crafted a drama that masterfully builds with increasing moral fervency to a shattering climax...The stunning cast is on the same page, their performances at once expanding and focusing as the play unfolds. All in all, I would encourage you not to miss this altogether searing revival." Full Review

Socrates
East Village
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"Running at a solid three hours, 'Socrates' intoxicates with the sheer volume of its intellectual richness and robust debates. I would even argue that Mr. Nelson’s ambitious play, like a decadent steak dinner, is too rich to fully digest and appreciate in one sitting...Hughes' staging is clean and muscular, making for scenes that are beautifully and passionately played...In the title role, Michael Stuhlbarg is titanic...The rest of the cast is never less than solid." Full Review

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"Taken as a whole, the play’s text is a quirky and informative – if slightly padded and self-important – examination of what man-made borders represent...Although he’s less compelling as a monologuist, there’s no getting around the fact that Mr. Phillips is a master at painting arresting stage pictures...Both he and director Tatiana Mallarino are able to elegantly, succinctly, and strikingly convey time, place, and space. At its best, '17 Border Crossings' is seductive theater." Full Review

Life Sucks.
Midtown W
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for a previous production “Despite some new, deliciously playful touches, the whip-smart play surprisingly tracks the underlying work faithfully...The brash ‘Life Sucks’ endearingly wears its heart on its sleeve, unlocking the well-worn play for today’s audiences in a way that’s both accessible and authentically wise...I’ve never seen Chekhov more entertaining, thanks in large part to a truly stellar cast...There’s a certain uncanny truthfulness to the acting...Resulting in a kind of alchemy that can only occur in the... Full Review

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"Within an eventful and captivating 75-minutes, Theatre Re’s production also packs in an awful lot in terms of plot and onstage physical activity, ensuring maximum engagement throughout...Performed with astounding precision and flair by a tight ensemble of just four – in addition to a couple of fabulous live musicians – the near wordless production comes together poignantly, thanks to director Guillaume Pigé’s rich, seamless work...It’s just plain gorgeous theater-making." Full Review

Vilna
Midtown W
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“Fuchs’ new work is a sturdy, workmanlike piece of playwriting. Although I found the first half rather pedestrian, ‘Vilna‘s’ second half comes together in rather powerful ways, culminating a series of authentically affecting scenes. Fuchs’ has a talent for drawing sharply-drawn characters and telling sprawling stories efficiently and clearly. Even if the overall effect is less exciting than other new plays I’ve seen this year, there’s no denying the play’s rock solid construction.” Full Review

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"I’m happy to report that Scott Ellis’s 2019 edition is smashing. The slight but important tweaks to Bella Spewack’s book and Mr. Porter’s lyrics have gone a long way in updating the material...Carlyle’s exuberant and unexpectedly steamy choreographed provides a robust counterpoint to Ellis’s gentler view of the show, which makes for a beautifully balanced and well-rounded evening at the theater. Ellis’s vision is carried out sensationally by his top-tier cast." Full Review

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"Despite the play’s tonal unevenness, I find Cortiñas to be a compelling new voice. Cortiñas has directed...He casts a carefully wrought spell from the get-go, creating a menacing mood that’s mostly sustained throughout. Even though the play’s second 'act' doesn’t quite jive with the production’s distancing, almost creepy atmosphere, the piece’s final set of images really got under my skin. The cast does an admirable job of giving inscrutable, deadpan performances." Full Review

Daddy
Midtown W
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“The play is ambitious and often times frustrating...But one thing’s for certain, ‘Daddy’ demands your attention through its gutsy and fearless theatricality...Taymor keenly understands the play’s oft-surreal nature, which she handles skillfully in her staging. The cast is led by Peet as Franklin in a bold, emotionally exposed performance that’s an indisputably brave piece of acting...Cumming is compelling, giving a performance that’s both charming and menacing.” Full Review

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"Stronger than I remember...This 'Fiddler' is a unique triumph...But make no mistake, National Yiddish Theatre Folksbiene’s 'Fiddler' is still very much the musical we all know and love. In the iconic role of Tevye, Skybell continues to deliver a sturdy, heartfelt performance that eschews the role of its trademark grandiosity...Skybell’s Tevye registers more like an 'everyman', and therefore the character’s considerable journey becomes an intimate one, and comparable to our own." Full Review

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“The first act is unadulterated farce that’s handled with confidence and an infectious comedic flair...However, the play’s second act is reminiscent of ‘Sunday in the Park with George’, both in its awkward satire of contemporary arts and academic circles and its jarring, notoriously problematic shift in tone. To compensate...Forbes has chosen to forcefully push some of the play’s satirical elements, at times detracting from the bite of Nottage’s script. " Full Review

Spaceman
East Village
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"Although the script veers towards heavy handedness at some points, I found the play’s increasingly hallucinatory psychological and emotional landscape to be dramatically gripping stuff. And even if her blunt, muscular performance isn’t to everyone’s taste, I applaud actress Erin Treadway for skillfully navigating the play’s episodic structure and fearlessly tackling the not insignificant physical requirements of the demanding role." Full Review

The Dance of Death
East Village
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"I actually quite like Conor McPherson’s new translation, which manages to be both bitingly contemporary yet somehow still period. I just wish director Victoria Clark had staged the play accordingly. Her safe, perfectly respectful and respectable production is very much solely in 19th century mode, as is the acting, which unfortunately diffuses the unsettling, viscous aggression." Full Review

Eddie and Dave
Chelsea
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"I wanted to like ‘Eddie and Dave’ and was hoping for quirkier and more slicing depictions...Although the cast clearly has a ball with the play, the text doesn’t go much further than skin-deep, resulting in a tiresome comic sketch that feels cartoonish and way too long...Bordelon and her cast try their best to bring buoyancy to the piece and maximize its playfulness. But at the end of the day, Staats plays it too safe with this one.” Full Review

Blue Ridge
Chelsea
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"Strained...The play ends on an inauthentic note of unearned emotion...The production is directed steadily by Magar, who does her best to uncover the emotional core of the piece – but alas to limited success...Same for the attractive and talented cast. Despite some courageous work, these actors – particularly the typically excellent Ireland... ‘Blue Ridge’ in the end feels overlong, overwrought, and unbelievable.” Full Review

Wild Goose Dreams
East Village
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“Jung’s 'Wild Goose Dreams' is lost in translation in several respects...I found the dialogue between the two protagonists to be excruciatingly naive, especially given their thus far respective painful life journeys. Nevertheless, I took to some of the themes Jung has on her agenda...loneliness in our world of connectivity, as well as the definition of love...Silverman valiantly endeavors to bring pizzazz to Ms. Jung’s busy but flat play, as do her over-eager cast.” Full Review

The Chinese Lady
Midtown W
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“Suh’s stylized play is mesmerizing, and unsettlingly timely. In a quiet succession of poetic, meta-theatrical scenes, we see Afong evolve from a naive 14-year-old girl to an elderly 90 year-old woman...Her mounting anxiety and self-realization of her situation as well as her love/hate relationship with her translator Atung, surprisingly make for rich, compelling theater. ‘The Chinese Lady’ is an important new play that sheds light on a painful slice of American history." Full Review

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“This nearly six hour condensation smartly keeps the action moving at an exciting clip without sacrificing the many details of the dizzying plot mechanizations...Brown-Fried helms this huge effort...and he does so with impressive theatrical imagination and thrilling momentum...even if some performances/performers were stronger than others – veteran actors Katigbak and Bose were in particularly fine form – it was a great pleasure to see these underserved actors in such non-traditional roles." Full Review

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“An authentic, thoughtfully-constructed vehicle, performed by an artist and showman who knows what it means to give his audiences their money’s worth...Springsteen is the real deal; he’s an electric, enthralling presence. There is never a doubt that you are in the presence of greatness, a living legend. But what’s extraordinary about his performance at the Kerr is the naturalness and casual gravity he conveys; it’s completely seductive. Exultant.” Full Review

Hundred Days
East Village
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“The unconventional and deceptively simple concert-cum-musical is a show about romantic love, pure and simple...This love you see in front of you, which is manifested by the Bengsons’ glorious cycle of songs, is real, and it’s achingly beautiful to behold...The current production vastly improves upon that previous run, thanks in large part to Kaufman’s subtle but impactful directorial touches...Once timid performances have also grown more confident and compelling." Full Review