Bob Shuman is a critic with Stage Voices. 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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"The script, which provides more waffling than a presidential impeachment trial, is indecisive regarding its ending, too...Ackerman wants to present provocation without ever having to stop being clever...Where the evening succeeds, though, is in its timing and brisk pacing–the show is only an hour and fifteen minutes, a one act really, which can deliver on old-fashioned laughs, such as a pie throwing montage." Full Review
“The performers do not seem to be coming out of deep, radical experience. ‘Brecht On Brecht’ demands a knowledge of harsh life, his canon, as well as the ability to give oneself over completely to the discordant material...The young, well-trained cast...excel most in musicality and they are clear in voice...But the edge is largely missing. No matter the quality of the ensemble...there is a difference between the singer’s voice and an actor’s art—and adapting both...is no small challenge.” Full Review
"The period play does not exploit racial violence...The director, Evan Yionoulis, allows the audience to listen to the young actors, to want to listen and watch their fine abilities, which include Tom Pecinka’s splendid singing...Kennedy, fortunately, continues to hope, for what can be found in 'He Brought Her Heart Back in a Box,' is the aspiration to live side by side...What theatregoers will observe is how such complex subject matter can find this kind of formal clarity and simplicity." Full Review
"Delaney’s a perfect storm for a director like Austin Pendleton...She forces Pendleton to keep up with her in his staging...They both win..."Botchan deploys dainty savagery and, even for those who know the play, this can seem unexpected. Impressive also is Rebekah Brockman, who gives us Jo’s poignant side, which would be expected. However, despite the weight of the milieu, she allows Delaney’s wicked humor to come through...Highly recommended." Full Review
“A hard and beautiful play, and Pepe’s staging is lovely...Pepe dilutes or Americanizes his 'Juno and the Paycock' by seeing the work as a middle-class play, as opposed to a working-class one, or directly, as one about abject poverty...Even in a production that normalizes despair, O’Casey’s keening shrouds the eyes in mist.” Full Review
"'Platonov' gets away from Burr, because Chekhov depends on connectivity, not fragments...She emphasizes mechanics, and ultimately, the pace seems like a refutation of this supremely empathetic author...Underestimating how much people want to listen to him—they want to see a significant 'Platonov', not a literalized one...The last moments of the play aren’t prepared for, and they don’t shock or surprise in the way that a well-directed version of 'The Seagull' can." Full Review
"Safe Harbors Indigenous Collective Projects’ 'Divine Comedy Pageant' embraces the Broadway and Tin Pan Alley versions of aboriginal lives—without much outrage...The script doesn’t find appropriation offensive or the stereotypes less than comic. In fact, the pageant seems to want to learn from musical comedy...Show business may be being used to buffer painful issues in the Native American community—and, thankfully, Sainte-Marie is still out there." Full Review
for a previous production "I know it’s blasphemy, but I’m not really one for 'Silent Night,' probably from overkill at this time of year. Here, I liked it...In another sense, if the show feels like a homecoming, it may be because you’ve seen several of the actors involved in the production in your theatregoing over the years...For people ready to unplug the Christmas machinery, here’s a simple, yet festive, way to get into the holiday spirit." Full Review