David Freedlander is a critic with Daily Beast. 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.
"A pure and unadulterated delight...It combines an eight course meal, with wine pairings and a compact and breezy Shakespearean comedy...'Shake & Bake' manages to produce a near perfectly turned 'Love’s Labour’s Lost,' one worthy of any of any of New York’s stages...There is scarcely a clunky note over the course of two hours...Rarely have I seen an audience more engaged or enthralled with Shakespeare...As easy and breezy a production of Shakespeare as can be found." Full Review
"Resolutely old-fashioned, cynical despite its syrupy story line, and seemingly calibrated to hit its audience precisely in its comfort zone...'Bandstand' is more than competently pulled off...The show, however, is a bit of a shock. It is not the shock of newness, but the shock of seeing something performed that so resolutely remains walled off from even the present state of politics and culture...The kind of show you take your parents too, or more likely your grandparents." Full Review
"This isn’t a play; it’s a piece of art...Such pyrotechnics are necessary, since much of O’Neill has trouble translating across the decades since his death, not least 'The Hairy Ape'...Subtle it ain’t...O’Neill’s writing tends to land like a punch in the face...The show lives or dies on its production values, and in this case it’s the former...Each of the eight scenes is somehow more spectacular than the one before it...It is not possible to look away, even for a moment." Full Review
“This is, to put it bluntly, a holy-shit of a production if I’ve ever seen one. That the show crackles with so much life is all the more surprising...Somehow Van Hove cracks the material open, running a tight narrative spine through it while losing nothing of the essence...Van Hove forces you to watch, and listen...The play is almost as cinematic as its predecessor, the screen a canvas upon which Van Hove paints and a second stage in dialogue with the one below it...Couldn’t be more timely.” Full Review
"Wading out into these waters isn’t an impossible task, but it may well be ill-advised, and it’s hard not to cringe when the play traffics in ethnic and religious stereotypes...The situation here crackles with a kind of energy. It could use more exploration. But 'The Profane,' even if it shakes off its slow start, is weighed down with too much weakness, especially the too often clunky dialogue and the seemingly tacked-on last scene." Full Review
"'Beardo' is near brilliant, played with pitch-perfect timing by the cast, particularly Damon Daunno, in a star-making turn...If this is kept from falling into juvenilia, or just pure silliness, it is largely a credit to the tight direction from Ellie Heyman. Comedic stunts like those pulled here can grow tiresome, but they never do...It is pure pleasure, and doesn’t leave the audience with much to argue over on the way out the door." Full Review