Brian Scott Lipton
Brian Scott Lipton is a critic with CitiTour. 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.
If you are this critic, please see the instructions on how to add reviews, update your profile, or make changes to your excerpts and scores.
"Unquestionably, '72 Miles' is an involving story, albeit one told too episodically for my taste. And if Bettis' dialogue can feel a bit prosaic, she nonetheless creates five characters you can really invest in - even the one, Anita who we basically just hear on the phone at sporadic intervals." Full Review
"Conor McPherson and the singular American songwriter (and Nobel laureate) Bob Dylan. Their seemingly disparate sensibilities have come together to create one of the most haunting - and hauntingly beautiful -- musicals I've ever seen, "Girl from the North Country." Full Review
"The show offers a truly dynamite central performance by the fiery Beth Malone, some first-rate choreography by director Kathleen Marshall and a tuneful-enough score to create a diverting entertainment." Full Review
"The interconnected stories of the Singer's past, not only serve as effective cautionary tales; they are also designed to bring some form of comfort to those who have been or are in pain. But it's the show's songs that really drive Lee's singular message home." Full Review
"To Birch's credit, she offers no pat explanation for Carol and Anna's urges; if anything, we suspect that their drive toward self-annihilation is primarily genetic, and therefore unstoppable." Full Review
"By showing us the cheerfulness of the family's child-like elderly servant Aniuska (the legendary Vinie Burrows) or the blissful demeanor of a woman raising two adopted children (Liu, faring better in this small role), Tolstoy does his damnedest to remind us money isn't everything." Full Review
"The production fortunately has one thing that never fails it: an ideal interpreter in the extraordinary Rose Byrne, who gives an sometimes seductive, sometimes terrifying and consistently intense performance as Anna." Full Review
"If this sounds like heavy stuff, it may well be thematically, but Wohl has salt-and-peppered the script with plenty of sitcom-like situations guaranteed to make you giggle (even if you don't want to) and more zingy one-liners than a vintage Neil Simon play." Full Review
"The Paris in Eboni Booth's darkly comic play has no Eiffel Tower nor Moulin Rouge; it's a small town in Vermont (circa 1995) where a night out at the local bar drinking vodka and singing karaoke appears to be the pinnacle of entertainment." Full Review
"The only moments where I completely believed Linney were at the play's end, when Lucy speaks as the fiercely independent, successful writer who has made peace - more or less - with her past and her decision to escape it." Full Review
"The show shines brightest when Connick really finds a way to make a song his own. The evening's highlight is an extended version of "Begin the Beguine," which, among other things, features Connick playing a stage-length piano and tap-dancing alongside the ultra-talented Aaron Burr." Full Review
"Equally importantly, and even more timely, the play is an indictment of mob mentality as the people in Hudetz's small town collectively first support him then condemn him, completely en masse. There's no evidence anyone thinks for himself or herself." Full Review
"In Ivey's flawless turn, we realize why the down-to-earth yet spirited Maggie is one of the most beloved residents of Clements, a tiny, depressed "town" in Idaho which has, in fact, decided to 'unincorporate'..." Full Review
"Admittedly, New York City is full of ways to make two hours 'disappear' during the holiday season - looking at store windows, shopping for gifts, ice skating - but few if any of these options can provide both the thrills and laughs of the latest edition of 'The Illusionists,' now at the Neil Simon Theatre." Full Review
"One of the joys - and occasional sorrows -- of Horton Foote's many works is the opportunity to periodically revisit the lives of characters with whom we've become acquainted in the past and discovering what has become of them." Full Review
"The fluidity of identity is a subject that almost seems tailor-made for Will Eno, one of our most philosophically-minded playwrights. So it's slightly surprising to discover how prosaic his new play on the subject, 'The Underlying Chris' turns out to be. Full Review
"You'd have to be in super-Grinch mode to dismiss out of hand an entertainment which begins with costumed cast members handing out clementines and cookies...and ends with a burst of snow from the ceiling and remarkable hand-bell carol performed by a truly multi-talented cast." Full Review
"Its social message aside, Lopez's riveting two-part examination of how America's gay men do - and sadly, don't - learn lessons from previous generations (as well as each other) is a feat of unexpected theatrical daring, passion and beauty." Full Review
"'Fires' turns out to be blazingly relevant today. The nearly two-hour piece not only explores the still-timely concepts of identity, racism and tribalism, but how, to quote Smith herself, 'the reach towards another human - knowing full well that there will always be distances between us - is a potent reach.'" Full Review
"The super-spectacular Adrienne Warren undergoes her own act of transformation...This petite powerhouse not only continuously lifts this often-earthbound show into the stratosphere, Warren expends so much energy on stage that she could probably power a rocket into space." Full Review
"After Rebeck gives Harry a couple of near-operatic arias about how he doesn't care about cash (stirringly delivered by Esparza), she throws in a little twist undermining that very point, and the play instantly becomes the theatrical equivalent of a souffle that falls while it's in the oven. Full Review
"While Fierstein performs the role in male clothing (albeit with red toenail-polished bare feet), he essentially transforms himself into Abzug, a woman who spent her entire life overcoming adversity." Full Review
"In fact, we quickly come to realize how well playwright Adam Rapp has taken his own words to heart in this remarkably intense and gorgeously written play - perhaps the finest in his long career. I suspect that even the most seasoned theatergoer is unlikely to guess the eventual fates of either character in this gripping, twisty two-hander." Full Review
for a previous production "As with every edition of this series, having seen as many current or recent shows on the boards as possible makes all of Alessandrini's gags and barbs land with an even greater thud. Would I have laughed so hard on his spot-at 'Woke-lahoma' had I not seen Daniel Fish's revisionist revival? (Nope!)" Full Review
"Although a bit too svelte and refined for the supposedly plump Sicilian-born widow, the 'Baronessa' Serafina Delle Rose, the Oscar-winning star uses her considerable comedic and dramatic skills to consistently distract us, delight us and even move us." Full Review
"One feels a deep gratitude that Friedman lived long enough to pen this score and an equally great sadness that we won't hear new creations from this singular talent...Based on 'Unknown Soldier,' Friedman would have become a true musical force to be reckoned with." Full Review
"Like a good hot wing, the play ends up having not just fire, but remarkable depth and flavor, all of which is brought out to perfection by an incredibly talented cast under Steve H. Broadnax III's assured direction." Full Review
"O'Connell's work deserves some sort of special award, as she flawlessly manages to not only precisely repeat Higginbotham's words but replicate every inflection...all while constantly gesturing, looking down at a manuscript, and essentially physically becoming this still-troubled woman." Full Review
"Van Hove's mostly stunning production should give us all hope that any musical, no matter how beloved, can be made relevant -- never mind thrilling -- for 21st-century audiences!" Full Review
"Hamill has transformed Dracula into a powerful and thought-provoking social statement about feminism. Fear not, though (well, just a little, maybe), Sarna Lapine's clever production still provides its traditional share of thrills and chills." Full Review
"Each of these performers displays real commitment both by fully tapping into their characters' minds and by revealing as much of their physical bodies as their parts require. (If it's a contest, Perez wins, pants and hands down)." Full Review
"Busch has also long mastered the vocal delivery of these much-missed women, although he never resorts to mere imitation. More importantly, though, he brings real humanity to the character of Lily." Full Review
"Somewhat shockingly, it's taken 38 years for this first-class work to finally make it to the Great White Way - specifically, the Roundabout's American Airlines Theater. Fortunately, Kenny Leon's riveting, must-see production proves to be more than worth the wait." Full Review
"This is among the most passionate versions of the play ever performed. Chief among the main players is the impressive Brittany Bradford, who smartly captures Macbeth's almost quicksilver transition from meek but loyal nobleman to halfheartedly ambitious throne-grabber." Full Review
"Fortunately, the Irish Repertory Theatre's founder and award-winning director Charlotte Moore has found the right formula to pull this tricky kind of comedy off with her assured production of Dion Boucicault's 1841 play London Assurance." Full Review
"Audiences looking for an involving 90 minutes will be more than satisfied by this play; while those seeking a larger, deeply philosophical examination of psychic phenomena -- or the existence of the so-called "thin place" between our reality and the other world -- will at the very least have cause for debate." Full Review
"I suggest you immediately grab a ticket for Stephen Adly Guirgis' often-hilarious (and quite profane), deeply humane and ultimately heart-wrenching 'Halfway Bitches Go Straight to Heaven.'" Full Review
"Beloved TV stars Harry Hamlin (L.A. Law) and Stefanie Powers (Hart to Hart) not only work their proverbial tails off to make even the weakest material sound believable, but audiences can simply bask in the glow of the duo's ever-present glamour when the ride gets particularly bumpy." Full Review
for a previous production "Elizabeth Stanley, in the performance of her career, is positively shattering as matriarch Mary Jane, who bravely (if foolishly) attempts to maintain her air of perfection and poise while her world crumbles and almost destroys herself completely in the process." Full Review
"The fluidity of identity...is a subject that almost seems tailor-made for Will Eno, one of our most philosophically-minded playwrights. So it's slightly surprising to discover how prosaic his new play on the subject...turns out to be." Full Review
"Reichel's ultra-imaginative staging and the impressive score by Lesser and Rosenblum, which shows off the pair's consummate skill with everything from heartfelt ballads to quasi-patter songs, both prevent much of the more science-oriented material from becoming completely inaccessible." Full Review
"As good as Faridany is, Mulgrew walks off with the show with her piss-and-vinegar portrayal of the often-strident Ayrton, delivering her barbed lines with astonishingly expert comic timing, yet never becoming a caricature, and fully capturing the character's humanity." Full Review
"Pfeiffer's stunningly sung, perfectly enunciated and smartly acted portrayal of Argentina's former first lady in Andrew Lloyd Webber and Tim Rice's devilishly difficult work should effectively help the actress skip a rung or two (or three) on her recent ascent to musical theater superstardom." Full Review
"Still, the show's tallest order has been fulfilled as Dinklage brings his now-signature brand of razor-sharp wit, melancholy, intelligence - and a decent baritone singing voice - to the piece. Indeed, our hearts break simultaneously with his as he talks about being 'too ugly to love.'" Full Review
"Fortunately, the magnificent Kathleen Chalfant not only commands our attention - practically daring us not to listen - but she also charms us, makes us laugh (sometimes with her, occasionally at her), even periodically annoys us as she offers a summation of her life and philosophy." Full Review
"The show's best song 'Why I Love Football,' sung by Duncan's troubled teenaged son (Will Meyers in a very impressive New York theater debut), is likely to have a long life in cabaret." Full Review
"Downtown stalwart Annie-B Parson has inventively choreographed and staged this once-in-a-lifetime show to a fare-thee-well, creating museum-worthy pictures which brings these songs to life in a way no one has done before." Full Review
for a previous production "This extraordinarily smart musical...may well be the best argument that one doesn't need a happy ending to leave the theater with a smile on your face. All you actually need is two hours of Alan Menken's ear-catching tunes, a ton of supremely clever lyrics and a host of beautifully drawn characters." Full Review
"This often less-than-exciting if well-meaning adaptation of Rick Riordan's popular young adult novel continually tries too hard to 'please' adults instead of simply trusting its source material. Still, this hit-and-myth affair seemed to delight enough of the younger people in the audience." Full Review
"Luckily, Letts' razor-sharp skill at dialogue and characterization will keep most of us riveted, even when we're feeling angry, disgusted or just a little sad. More than once, we may even find ourselves wishing for an unlikely happy ending for our less-than-sympathetic anti-hero." Full Review