Charles Bittner is a critic with Plays to See. 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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"From the beginning, the play never really does get off the ground, probably the result of an astonishingly unexceptional script. The dialogue is simplistic and repetitive, and rarely, if ever, do the actors speak in more than three-word phrases...Overall, the play is disappointing and falls well short of its potential. The serious issues it portends to examine remain elusive, its humor is tedious, its dialogue is undistinguished, and its acting is uninspiring." Full Review
“Overall, ‘The Dressmaker’s Secret’ is a commendable play. The conflicts between the characters are skillfully developed, and the plot unfolds intriguingly...The acting is generally sound. Still, at times the actor’s movements seem awkward, and Bryan Burton tends to yell out lines for no apparent reason. And while the script is compelling, the dialogue seems to drag from time to time. Otherwise, the plot is weighty and the performance is satisfying." Full Review
"The play is unreasonably long and unnecessarily repetitive...The play moved at a snail’s pace, and, especially after intermission, the snail made its way to the end well before the play...Neither the director nor cast seems able to determine whether the play should be performed as farce, slapstick, historical fiction, drama, or comedy...Despite all, there were moments of radiance and distinction throughout the show...And even one of Brecht’s less notable plays is usually still worth a look." Full Review
"For a short while, this all seems to work relatively well. The actors’ considerable talent and impressive timing seem to overcome this demanding undertaking. Soon, however, the scheme comes undone...The plot completely unravels...The singing might best be described as pedestrian and muted, and the dancing did not seem particularly well choreographed. Costumes were lackluster, and the sound effects and music were amateurish. Once the plot was lost, little else remained." Full Review
"'White Guy on the Bus' offers a thought-provoking examination of current race relations in America. Graham’s writing is imaginative and compelling, and the plot adeptly blends a coherent structure with intrigue and surprise. Cast members convincingly interpret the complicated vicissitudes their roles demand, and the performance flows effortlessly. A triumph at most every level." Full Review
"His poignant stream of consciousness, performed with hardly a discernible change on his face, clearly causes consternation for those who witness this intense presentation. Their nervous laughter is often ill-timed. Otherwise, there is just silence. Only the most unfeeling is untouched and unmoved...The autobiography of Edgar Oliver hauntingly describes and defines what it means to be human. For those who’ve experienced real loss...this performance will reach deeply into their souls." Full Review
"These tales of arrests, gunplay, and gallantry are clearly ancillary to the central theme of this compelling, heartrending account of a life coming unraveled. The ebb and flow of Detective Shanley’s emotional crisis is well rendered in the imaginative script, and commendably delivered in a very skilled performance by veteran actor Rachel McPhee. The theater is small and cramped, but this hardly distracts from a profoundly absorbing and stimulating experience." Full Review
“Notwithstanding the inconvenience of having to read the translations and, at times, even miss out on some of the details of the performance, and the lack of any meaningful political engagement, ‘The Golden Bride’ is brilliantly executed musical theater, overflowing with dozens of exceptionally talented actors and singers, and backed up by a very capable fourteen-piece, live orchestra...A wonderful, delightful, cheerful performance, free of politics, and well worth seeing.” Full Review