Eugene Paul

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Reviews (36)
The Cradle Will Rock
East Village

“Doyle’s hard working company of actors does not project the fire-in-the-belly fervor that propelled Welles’s original company...Without that inner conviction and turmoil, Blitzstein’s stereotypical caricatures lose their power...Further, Doyle’s piano does not sing...We admire what is going on but remain at a cool Brechtian remove. If that is in Doyle’s design, it is a miscalculation. We want to, we need to be fired up...It’s all very college theatre.” Full Review

The Whore From Ohio
West Village

"Levin had been five years old when the land he was born in became Israel...It's as if his characters came right out of the gritty Poland from which his parents had escaped...In Yiddish, Hoibitter, a ragged beggar, loudly, joyfully proclaims he is seventy years old today and he is going to treat himself to a birthday present. A whore...The play trundles from dismal to shitty and eventually to death." Full Review

The Labor of Life
East Village

"'The Labor of Life,' in Hebrew, consisting of marital cruelty and death, this time in bed and equally long, is performed by Sokolsky, Asher-Sandler and Rosen under the direction of Muszkatblit...The bigger question is, why? Why this focus on the theater works of Hanoch Levin? The New Yiddish Rep amply demonstrates its talents, devotion and grit, true, even as it amply demonstrates the rigor of Levin’s growing reputation but that does not answer the question." Full Review

"Raffish. Rambunctious. Ridiculous. Deliberately. Gay. Very. Enjoyable. Very. A totally pro shambles...A motley assemblage of shockingly shambolic talents...With a hodgepodge of no-holds-barred casting...Under Cerullo's exultant, exhausting direction and choreography everybody's giving 110 percent from the very start...It would be really ridiculous, even a sin not to mention the songs, under the loving care of musical director Rees, every one a performance gem." Full Review

Prince of Broadway
Midtown W

“Splendidly produced, gorgeously loaded, reeking with famous talents…A smashingly strong cast…The nine-member company, displaying amazing versatility happily, deliriously extending themselves over a dazzling range of characterizations, are sheer delight…Overall, it’s inevitably a charmer, nudging at our nostalgia, tugging at our heartstrings, clever, delightful, even poignant, a gracious reminder that having Prince in our lives even tangentially has been a blessing.” Full Review

Midtown W

"Playwright Paula Vogel and her gifted director Rebecca Taichman have taken these shocking, brutal elements and created the haunting, spellbinding 'Indecent,' evoking a work of such tender beauty and resonance it will stay with you in your conversations, your sleeping hours, your psyche for a long time to come...It would be futile to try to put in mere words all the wonders and spells that director Taichman achieves with her enchanted, enchanting company...A company that can do anything." Full Review

"This time she's Bette Midler, who used to be known as the Divine Miss M but now bids fair to eclipse all the Dollys of the world...The simply wonderful musical score that the great Jerry Herman gifted Broadway...This rambunctious roustabout of a directing that director Jerry Zaks lavishes on the current go-around. And choreographer Warren Carlyle’s zippy updates of Gower Champion’s original choreography. And those storybook Santo Loquasto sets." Full Review

for a previous production “It would be futile to try to enumerate all the things that could go wrong—and do—but it must in all admiration be said that instead of being plagued by all the damn fool things, they don’t pall! And that is the genius that director Mark Bell and his remarkably sturdy, ever-coping company of madmen and women absolutely shine at. Things can’t get worse, can’t get funnier? Blam!...This is slapstick with a vengeance…Go. Have a good time. You deserve it.” Full Review

Chess Match No. 5
Midtown W

"A delight...'Chess Match No. 5' presents its own set of intrigues, exquisitely unfolded by our superb performers using John Cage’s very own words in director Bogart’s very own milieu...We find ourselves seeing as minutely as we ever have and listening every bit as carefully...Will Bond and Ellen Lauren are so singularly accomplished, so good at what they do that they positively shine. This is acting of a kind rarely seen in the city. And even more rarely heard." Full Review

Midtown W

“'Linda' is, from the very top, about Linda (stunning Janie Dee), a beautiful, successful, self-made woman…She’s alive, she’s vital, she’s all these things. Let’s really look at her and celebrate her, the grown-up woman...If this is sounding like a soap opera, it is, well, sort of an anti-aging cream opera, and all too common as midday television...And playwright Penelope Skinner isn’t giving an inch. In fact, she rubs it in." Full Review

Jonah and Otto
Midtown W

"Playwright Holman’s jarring counterpoints of two ill met Englishmen gains odd colors from their quirks and foibles...Director Geraldine Hughes taps deeply into her acting resources to bring Sean Gormley into his best performance to date and to ensure a warm welcome for Rupert Simonian’s American debut. It’s heartening to want to see more of them." Full Review

Daniel's Husband
Midtown W
Norwalk's Hamlet Hub

for a previous production “Director Joe Brancato has paced his expert company artfully, confidently, sensitively…Tension rides in everyone, and especially in you, that smart one, in the audience. Playwright McKeever has had the audacity to begin his tragedy as a comedy and landed a poignant success, bringing everyone in his audience, canes, walkers, wheelchairs and all, to their feet.” Full Review

Hello Dillie!
Midtown E

“She lets us have it right in the kisser, each song its own richly comic drama, couth, uncouth, clever, heartfelt, heartless. What a dame...It’s a nostalgic delight to bathe in Dillie’s impeccable syllables in that selfsame assured arrogance, edged with a wicked, good natured self mockery...Dillie is an actress, a superb actress...It’s not just the words, and the delivery, either. She gets to you. She understands. She could be a friend.” Full Review

Angel Reapers
Midtown W

"The ballet–drama that Martha Clarke and playwright Alfred Uhry have fashioned adheres to her vision, his gifts added to hers...The frenzied dances and grapplings, driven by the Shaker faith, [are] transmuted into rapturous choreography, passionate singing. But Martha Clarke’s vision is still aborning. Since their last staging five years ago, the dance drama has grown and deepened...We have been introduced. We are left wanting more.." Full Review

"That kind of whimsical, wishful thinking is the way director John Augustine has approached playwright Margaret Dulaney’s play, which is not what playwright Dulaney needs. Her play needs a firm grip and a clear mind…It all starts with the play. This one is a mere wisp…It’s pleasant. And nice to look at. And nobody’s a bad person. Pass the sour cream and onion potato chips." Full Review

The Gin Game
Midtown W

"Director Leonard Foglia has stitched his two star performers into a positively densely woven tapestry of built up laughs, and bitter moments, and just plain bitter, so that you laugh all the harder after you’ve gulped a few times. James Earl Jones is a marvel of hilarity spun out of sadness, and loneliness ,and curmudgeonness, and you ache for him...It’s a funny, funny show. But it’s a heart wringer." Full Review

"True, harried director Jonathan Silverstein has to cope with the invented machinations of author Graham Greene trotting out thriller clues and wiggling around them, which carry tale along leaving little room for witty attitudes to break out again and again as we have earlier enjoyed, but what the hell, you can’t have everything. But there’s a trick or two up his capacious sleeve before a none too unexpected denouement, so, enjoy the game and never fear. You are in good hands." Full Review

"Two of the most endearing, beguiling, twist-round-your-little-finger Irish performers you’d ever have the pleasure to meet and if it wasn’t for the sheer earnestness of them you’d wonder how they ever had the gall to dash through the balderdash they dash through...And if it wasn’t for the indefatigable charm the two of them positively ooze, you’d be sorely tempted to vent razzes. Ye gods, what a yarn." Full Review

Midtown W

"A classical revolution...Everybody works. Hard. Conductor, musicians, soloists, vocalists...Nothing looks easy, nobody holds back. Every number builds to wall shaking. It's seventy percent an old fashioned outdoor arena type rock show brought to Broadway welded to a road show classical concert...Applause is summoned - and earned during the first act, after which there seems to be a general sorting in the audience, from the standing ovationers, to the bolters, and the snoozers." Full Review

"A great big confection, so cleverly tricked out with the ever present 100 proof Jimmy Buffett songs, that it's all but irresistible...A fabulous company...Garcia and O'Malley have enlivened the show with enough one liners to get from one Buffett song to the next painlessly...A volcano that blows up, a buried treasure...All expertly expertly done. Oh, and...A great tap dancing show stopper. Which makes no sense but by then you are under the Jimmy Buffett spell." Full Review

The Low Road
East Village

"A romping riot for the senses as well as your brain...Greif's smashing production of deeply angry playwright Norris's swashbuckling assault on everything is well and truly underway...Rich torrent of eighteen actors playing forty-nine roles, crackling Norris's laughing diatribe runs its picaresque course...Norris vents scalding scorn on us, on his characters, on himself, on the theater as weak, ineffectual slaves to the injustice and inequality running our lives." Full Review

"Stroppel’s fantasia, 'Small World,' in which towering composer Stravinsky butts heads and egos with unbeatable Disney, is simply a delight...Director Brancato handles his star-quality cast with kid gloves in this uncanny environment...seamlessly making them real for us...But, of course, it’s playwright Stroppel’s words and thoughts, wit and sensibilities that matter most. I wish there were more, more. I could have danced all night." Full Review

“You are never involved. The play has never caught you. Despite moments of anguished appeal, Isabella, the character most likely to touch you, to reach you, just does not, no matter splendid actress Cara Ricketts’s fine efforts…Every other character is similarly flawed, but director Godwin, instead of taking that as the cue to holding the mirror up to us, flaunts his furbelowed production for us to admire…It’s Shakespeare. But there’s that niggling gnaw of disappointment." Full Review

"The lugubrious, overstuffed, undernourished first act...The second act finally gets to the good stuff. Meaning Christian Borle...You know what bad behavior earns. Admonishment. But in author Dahl’s hands, that amounts to fanciful and picturesque dismemberment which is supposed to amuse us. Sorry, Dahl. That is sick...Everything depends on the ultimate chemistry between wistful, almost-real Charlie and outlandish, not-at-all-real Willy Wonka and it isn’t quite there." Full Review

Midtown W

"The whole of 'Bandstand' is such a striver, every craftsman-artist, every performer artist at peak, especially choreographer-director Andy Blankenbuehler...A swirl of emotion and entertainment that never falters...Wonderful dancers who sing. Wonderful singers who dance. Wonderful actors who sing and dance, are funny, and heartbreaking. And play instruments. Head-shakingly amazing...In a season of many gifts 'Bandstand' stands very high." Full Review

The Profane
Midtown W

“A big, topical, controversy-filled, heaving, seething knot of subjects…Fagan stages beautifully, moves his actors as if they were responding to their own impulses…In performance levels, all the adults, the parents, are splendid, seasoned pros, reach all of the audience right to the back rows...But the young actors haven’t the same strengths, the same ability to project their performances, their crucial performances…They do disservice, indeed, damage, to the play." Full Review

Midtown W

“As ‘Everybody,’ Branden Jacobs-Jenkins’ playful, jazzed up politically correct and quite as politically incorrect theatrical version, it remains a concoction of glancing modern morality1 brilliantly staged by director Lila Neugebauer...Neugebauer runs with the playwright’s profoundly wonderful brainstorm…You have to see it...My dears, you have much to look forward to.”1 Full Review

Sunset Boulevard
Midtown W

“An overwhelming bravura performance…Extraordinary Glenn Close found the award-winning role of a lifetime twenty years ago as a great, mad silent film star, Norma Desmond, and has brought it back to Broadway, greater, madder, more wonderful than ever, richer in every detail. If you love theatre, you owe it to yourself to experience this once-in-a-lifetime triumph. You’ll talk about it forever…Webber's music only comes to greatness when its star sings and acts to the fullest." Full Review

Midtown W

"The thrills are still there, superb, dazzling, deliciously chilling in their daring and artistry but the attempt at a dramatic story is a klunker no matter how gorgeously dressed and cleverly staged…Turkey, 'Paramour' is not. There’s too much good, even extraordinary, in the show, almost all of it their specialties that have made them the greatest circus of humans in the world." Full Review


"Pllaywright Owen McCafferty has burrowed into the throbbing bog of living with Belfast’s religious torn past...The cast is practically perfection. Patrick O’Kane as Jimmy deserves all the accolades he’s garnered...I have never seen him better. Declan Conlon’s genuineness is the rock all three actors build on. Without his honesty there’s only chaos…Director Jimmy Fay has handled his company so expertly it’s as if it all had to happen before us the way it does, a superb job." Full Review

Midtown W

"Whitaker is infinitely faithful to the sad emptiness that is Erie and gives a remarkable performance, true in its multiple layers, extraordinary in fashioning O’Neill’s difficult language and its punctuation into a verisimilitude of human speech...Even the 'greats' cannot be great all the time and 'Hughie', no matter how beautifully produced, performed, directed, remains a minor note." Full Review

"Extraordinary Director Bartlett Sher in this unfinished masterpiece of a restoration to the New York stage yet again has put his stamp on one of the miracles of American musical theatre with clarity, love and courage. Never have the songs been better...I’ve seen five different productions of 'Fiddler' and there’s something spellbinding in each of them when everybody on stage cares. When they care, we care. Simple. Marvelous. But none has achieved the intensity of the highs in Bartlett Sher’s... Full Review

Old Times
Midtown W

"Roundabout Theatre has placed great placards in the main lobby charting their devotions to Pinter over the years. The large audience, respectful, awed, attentive, pays tribute as well. That Owens, Best and Reilly do very little to deserve this adulation is somehow beside the point. The point is Pinter. Sir Harold must be smiling down from whatever heaven he chose to be in. Or not." Full Review

"Yiddish, the language of body and soul as well as words, flays open the red drama inside to a depth its English characterization has never quite achieved...'Death of a Salesman' in this Yiddish production is a worthy addition to the present New York theater scene. It honors Arthur Miller and his great play." Full Review

Midtown E

"Director Paul Meade is completely attuned to his playwright, his star, his muse and keeps her enthralling performance frightening, funny, absorbing, painfully fresh, start to finish, alive with possibilities...Genevieve Hulme-Beaman has fashioned a spellbinding theater piece and fulfills it to the brim. It’s an eye opener to treasure. Once you see her you won’t forget her. That’s star power." Full Review

The Qualms
Midtown W

"We, the watchers, want something more. We have connected. At which point, with an arbitrary smartass, juvenile fillip, Norris breaches the fourth wall and everything goes splat as director and company do his bidding, for a laugh. Not new insight, not new exploration, not even sex, the root of all. They all, every one of them up there know better, especially Norris. Without that crass maneuver, the play has made its point, true, in vaguely blurry fashion as if it had been through a blender an... Full Review