Christopher Hoile

Christopher Hoile is a critic with Stage Door. 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 (7)
Stage Door

“Mendes’ direction of the enormous cast is exquisite. The pacing of the action, the timing of the speeches, the nuanced acting he inspires are impeccable. The entire cast functions as a single organism, all members working toward the single goal of opening our minds to a mystery involving the irony of the illusion of freedom and the invisible bonds of fate...Essential viewing not just for its immaculate direction and performances but for the high relevance of its content.” Full Review

Macbeth Muet
Soho/Tribeca
Now Toronto

for a previous production “One the most imaginative shows I’ve ever seen at the Fringe…A brilliant alternative presentation of Shakespeare’s play told through physical theatre and the manipulation of everyday objects...When playing the Macbeths, performers Prévost and Francoeur are as impressive as the best young classical actors…The show is filled with laughter, not at any foolishness but because of the continually amazing inventiveness of the performers in creating powerful imagery from such ordinary objects.” Full Review

Helen Lawrence
Brooklyn
Stage Door

for a previous production "It’s been set up as a film noir but the several subplots keep us wondering what connection, if any, they have to the main plot since none of them move it forward. 'Helen Lawrence' as a story is unsatisfying not just because it lacks any of the tension or suspense one associates with its chosen genre, but also because Haddock simply casts out the subplots when they have served his purpose of delaying the ending...Elizabethan playwrights played on empty stages since they trusted their words an... Full Review

Blue Man Group
East Village
Stage Door

for a previous production "What is “Blue Man Group”?  The simple answer is that it’s 90 minutes of non-stop fun. The more complicated answer is that it’s a kind of techno-psychedelic neo-vaudeville performance art that is also a satire of performance art.  Percussion, painting, videos, eating and spitting out, mime and audience participation are all involved." Full Review

Stage Door

for a previous production "People often speak of 'the magic of the theatre,' but this is truly magical. How we have established such a bond with them and they with us is unknown but somehow the two have taught us a game and we have learned to play it to our own infinite amusement and wonder...'In the Dark' is still as comic as the duo’s previous plays. But this is comedy at its profoundest and most essential. It may be a play on words but it is also true – 'In the Dark' is a play that enlightens." Full Review

The Judas Kiss
Brooklyn
Stage Door

for a previous production "An intelligent, beautifully written play…Witty as one might expect, the play is also as gripping as a thriller as we watch a great man see his life head unswervingly toward disaster…Director Neil Armfield has chosen an ideal cast for the production. Rupert Everett plays Wilde as if the role had been written for him. Everett’s slightest gesture, pause or change of intonation is laden with meaning…For any lover of the theatre and superlative acting, 'The Judas Kiss' is a must-see." Full Review

Of Human Bondage
Midtown W
Stage Door

for a previous production “A rare thing – a fine stage adaptation of a complex novel…While Thiessen has provided a concise, insightful text, what takes this production out of the ordinary is Albert Schultz’s remarkable direction…Schultz’s experimental approach reaps enormous benefits not only by showcasing the versatility of his cast but by transforming a narrative into a visually exciting, consistently imaginative theatrical experience." Full Review