Eric Marlin is a critic with New York Theatre Review. 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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“It’s all a bit madcap and a bit messy...The excellent structural trick of 'Providence, RI' is that Act One functions as an abstract of the play. It summarizes the characters and settings that will accrue meaning in the subsequent acts…There are some limitations to this scheme. As the play increasingly leaves behinds the detailed pleasures of Act One for something weirder and grander, certain narrative threads are harder to shake off…The cast is uniformly excellent.” Full Review
"The show makes exquisite use of empty language, in which the generic quality gives way to rhythmic inventiveness. The text, by the ensemble as well as Alex Kveton, is endlessly circular, burrowing further and further into its own inexplicable logic...Theater Reconstruction Ensemble’s lowbrow comedic approach should not be conflated with glibness. Nor should the impetus for the project, a response to Ionesco and Hitchcock, be a sign of insularity or precociousness." Full Review
"Mac Wellman’s extraordinary new play…By examining the slippery, unstable uses of a gesture, the play’s physical world mirrors the labyrinthine structure of the language. The play becomes a space of suspended tension…Meghan Finn is an ideal interpreter of Wellman’s work, extending the play’s semantic and bodily contradictions into her staging. Her dogs navigate their world with a dogged earnestness, while the human players embrace a vaudevillian style." Full Review
"It’s street-smart, brash and brazen, talks fast and demands you keep up with it...The episodes begin to bleed into one another, and Birch’s play, astoundingly, evolves at the midway point past its own initial premise into something stranger and more daring...Director Lileana Blain-Cruz wisely keeps the focus on Birch’s dense language...The cast members are giving some of the most impressive, ego- and vanity-free performances on the New York stage right now." Full Review
"The problem of empathy as a political strategy is at the crux of the new documentary-style play 'Chatting with the Tea Party'...Orloff's intent is admirable...The interviews...create a delightful vocal collage. It is a fruitful strategy that complicates a potentially single-voiced endeavor. However, it might not have been complicated enough...The only character that is granted a full range of political and human expression is Orloff." Full Review