Adrienne Onofri

Adrienne Onofri is a critic with Off Off Online. 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 (22)
Epiphany
Upper W Side
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Watkins’ intermissionless two-hour play depicts Morkan’s dinner party. She and her eight guests drink, eat and discuss everything... The conversations never really get in-depth, though. But the show is saved by some extremely well-choreographed banter. The Tyne Rafaeli-directed production is indeed an attractive package. It just might feel a little empty once it’s all unwrapped. Full Review

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Despite family secrets being revealed, two brushes with death, a constantly rotating set and repeated storming out of the house, not all that much happens in Our Brother’s Son, a passable but toothless drama by career gastroenterologist turned first-time playwright Charles Gluck. Full Review

What You Are Now
Midtown W
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While it’s gratifying that the push by New York theaters to elevate underrepresented voices has expanded enough to include such an infrequently depicted community as Cambodian Americans, the play is hampered by stilted dialogue and uninspiring staging. Too often, what the characters say seems to be for the audience’s benefit instead of a natural-sounding conversation. Full Review

sandblasted
Gramercy
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Before the play even begins, it grabs the audience’s attention: They enter the theater to see a stage covered with sand—lots and lots of sand. The play itself, however, may not stir the audience’s attention, at least not for the full hour and 40 minutes of its running time. While Sandblasted features impassioned performances and some lovely two-person scenes, it tends toward the talky and abstruse. Full Review

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The show ultimately feels underwhelming, telling an emotional story with music that never really crescendos in emotion or music. That flatness is especially surprising coming from the adventurous Civilians... They succeed in conveying an eerie ambience for this play, but the tone doesn’t change much even as secrets are uncovered and reconciliations achieved. Full Review

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for a previous production Do we really need another Irving Berlin revue? Considering America’s recent cultural reckoning, this salute to a dead white guy does feel out of touch. That might have been overcome by a more imaginative presentation. The musical numbers are endearing, but veteran book writer Barry Kleinbort didn’t come up with anything more exciting than “And then this happened”–type narration. Full Review

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“I’ve always felt I’ve lived a charmed life,” Lori Brown Mirabal says a couple of times in the play, though she never really embellishes on what’s made it so. Still, you can’t fault her for her positivity, and it’s extra-admirable considering her profession is the one that gave us the term “prima donna.” Full Review

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"It's a script that could charitably be called overambitious; less charitably, pretentious. In stuffing in so many digressions and name-drops, the monologue loses focus…Muñoz is an asset to this production. He has an affable presence, and his heart is clearly in the role." Full Review

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"'Paris' is an honest portrayal of people who need every dollar they earn. Or it's a sly commentary on how race figures into a seemingly nonracist environment. Or it's just a well-performed and engaging workplace dramedy. However it's viewed, this sharply written, superbly acted new play provides theatergoers with a jolt from winter doldrums. Full Review

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"Cariou has at least some audience members in tears by the time Harry walks out that lake house door for the last time. If only the playwright, George Eastman, had more gracefully shaped the crisis that brings him to that point. Instead, he loaded the first act with too much exposition." Full Review

MsTRIAL
Midtown W
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"The script's lack of subtlety and plausibility dooms a play that starts out as a mildly engaging story of high-powered trial attorneys and an alleged sexual assault between them." Full Review

New Golden Age
Midtown E
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Time and again, stories about what the future holds for technology and humanity have enthralled audiences—think of the rabid followings for The Twilight Zone and Black Mirror, produced 50 years apart. But whereas those TV shows grabbed viewers with suspense, plot twists and amusing allegory, New Golden Age mainly offers talking. More than three-quarters of its run time is occupied by one long scene, and it consists mostly of people standing around talking. That tedium outweighs any emotional ... Full Review

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SuperHero began performances the day after a gunman opened fire aboard a rush-hour Brooklyn subway train, giving added resonance to its protagonist’s decision to eschew violence as a response to personal turmoil. The playwriting debut of actor Ian Eaton, SuperHero is an autobiographical coming-of-age story about an awkward, overweight boy growing up in the Harlem projects in the 1980s. Full Review

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"Numerous times in this dreadful would-be comedy, dialogue contradicts other dialogue or is illogical for the characters or circumstances. The script is also full of labored jokes and clumsy lines that can’t even be considered exposition, because they’re not explaining anything worthwhile. Gil-Sheridan is trying to say something with This Space Between Us about loving your family despite differences and wanting to do more for the world, but it’s all so superficial." Full Review

Wolf Play
Midtown W
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A thoughtful script, nimble stagecraft and on-point performances coalesce in a highly theatrical production. It takes committed work by the cast and well-choreographed staging for the show to move along as smoothly as it does. While Wolf Play doesn’t break new ground, it certainly wouldn’t be considered conventional. Full Review

Kimberly Akimbo
Chelsea
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"Take a slew of New Jersey jokes, opening notes played on the ukulele, onstage ice skating, songs about scurvy and parasitic infection, and a tuba and a mailbox being lugged across the stage, and you’ve got some idea of what the delightful new musical Kimberly Akimbo has to offer." Full Review

Tammany Hall
Soho/Tribeca
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"This vivid history lesson captures a flashpoint in New York City’s history: when Tammany Hall—which had controlled (and corrupted) city politics for more than a century—would finally be called to account and Fiorello LaGuardia began his ascent into legend. Oh, and the stock market had just crashed.... the immersive aspect of the production succeeds, thanks to expert scenic design and committed work by the ensemble." Full Review

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"The story's cinematic nature works against it on stage...'Sideways' has such a strong sense of place-the movie fueled a tourism boom for California's Santa Ynez Valley-that it's shortchanged by many scenes looking similar." Full Review

Rules of Desire
Midtown W
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"The first new play by William Mastrosimone to premiere in New York in some time, this 90-minute, three-character piece is a head-scratcher: Whatever points it makes get muddled by ambiguous character development, a far-fetched setup and one long scene that gives new meaning to 'toxic masculinity.'" Full Review

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"It has a little of Pixar's 'Inside Out' (emotions as characters) and a little of Broadway's 'Disaster!' (musical-theater fan favorites doing campy material) plus the exuberantly performed up-tempo numbers of a theme-park revue and the over-the-top costumes of a drag ball." Full Review

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"This massive misfire tells three different stories, with barely a sentence of realistic-sounding dialogue among them. The only thing that makes One November Yankee tolerable-but only slightly, because the material is that dreadful-is the presence of Harry Hamlin and Stefanie Powers." Full Review

Is This A Room
Gramercy
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for a previous production "This could have been a very different kind of production, one lacking the dramatic momentum and vivid characterizations that Satter and her cast give it. It's unrecognizable as documentary-based theater if you associate that genre with a static staging." Full Review