Greg Evans

Greg Evans is a critic with Variety. 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 (86)
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"Bob Dylan Musical ‘Girl From The North Country’ Reimagines Those Genius Back Pages" Full Review

Grand Horizons
Midtown W
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"Jane Alexander & James Cromwell In A Marriage Story With Jokes" Full Review

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"A Mesmerizing Laura Linney Conjures A Life (Or Two) In Broadway’s ‘My Name Is Lucy Barton’" Full Review

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"Hot Buttons, Alanis Morissette Songs And One Very Troubled Family" Full Review

The Inheritance
Midtown W
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"When Home Is Where So Very Many Hearts Were" Full Review

Bella Bella
Midtown W
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"Harvey Fierstein’s ‘Bella Bella’ Is Classic Harvey Harvey" Full Review

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"Dark Days, Darker Thoughts & The Incandescent Mary-Louise Parker" Full Review

Linda Vista
Midtown W
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‘Linda Vista’ Broadway Review: Tracy Letts Play Gets Last Laugh On Know-It-All Radiohead Hater" Full Review

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"Lin-Manuel Miranda Co-Creation Improvises Delight" Full Review

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"‘The Height Of The Storm’ Broadway Review: Jonathan Pryce & Eileen Atkins, Haunted And Haunting" Full Review

Betrayal
Midtown W
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"Tom Hiddleston, Charlie Cox & Zawe Ashton In Pinter’s Affair To Remember" Full Review

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"Jake Gyllenhaal And Tom Sturridge Bring Power To The Big Stage." Full Review

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"Arin Arbus seems fully aware of newfound and hard-won sensitivities, and neither dismisses them nor entirely clarifies the shadow they cast on this pre-Me Too era work. Whether that absence of resolution is an intentional commentary or a dramatic shortfall will likely have as many interpretations as there are audience members...That it survives instead as a testament to human connection speaks well of both the play and this production." Full Review

Ink
Midtown W
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“Graham’s play is so well-crafted that not knowing your Sun from your Mirror is a fairly minor hindrance...Graham and Goold cleverly illustrate the exhilaration of this chaotic frontier by peppering the play with eruptions of music and dance...Miller and Carvel give two of the most commanding performances...The play works best as an intellectual exercise, clever and smart but short on emotion. Even the murder feels more like a playwright’s warning than a human tragedy." Full Review

All My Sons
Midtown W
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"Jack O’Brien’s knock-you-from-behind staging is as powerful and sturdy as Miller’s post-war classic itself. And in a shattering performance that adds yet another layer to her quietly remarkable career, Annette Bening finds grace notes in the role of the grieving Gold Star mother that brings the character to vivid, brutalized life...Miller’s genius was in using the old formulas to capture a very unbrave new world." Full Review

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"Lucas Hnath’s 'Hillary and Clinton' boasts the gladdening sight of Laurie Metcalf, her every bit the equal John Lithgow and director Joe Mantello’s unfailing grace, but for all of that, no small part of the satisfaction this play delivers is recognition of an entirely different sort...The play isn’t without flaws – story-wise, it can feel a bit on the thin side...The cast, needless to say, couldn’t be better." Full Review

Burn This
Midtown W
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“’Burn This’s’ flaws have been there from the start...Russell, so good in 'The Americans', is just no match for either Driver or the stage. Her performance here is flat, her delivery single-note...So what’s needed? I’d say passion, or at least chemistry. But Russell’s Anna just hasn’t the emotional weight to provide the heft needed for an equal and opposite reaction to Driver’s Pale.” Full Review

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"This 'Lear' is a knock-out...A production of many memorable parts and moments...Wilson's performance grows in strength and vitality and even poignance, as if Wilson and director Gold have decided that only a truly go-for-broke approach could withstand the force of nature that is Jackson. They choose wisely...Scholars have long debated on whether the Fool is actually Cordelia...Gold suggests he has the answer. It isn’t the first or last moment of truth in this extraordinary production." Full Review

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"'Ain’t Too Proud' mostly accomplishes what so many of the lesser examples of this genre haven’t – a fine cast performs beloved songs, performs them well enough to conjure and honor the people they’re playing and the songs they’re singing, and adds enough Broadway dazzle...That the deaths carry little dramatic punch is no fault of the primary cast, each of whom is given little more than a trait or two in place of a fully developed character." Full Review

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"Amped up just enough to suit Broadway demands without swamping the heart and humor that caught everyone’s attention in the first place...Impossibly catchy pop show tune combining upbeat, even joyous musicality with some truly dark and uncompromising sentiments...For all of its storyline predictability and maybe too-happy-resolutions, Joe Tracz’s book and, especially, Iconis’ lyrics don’t flinch from the darkness and panic of the teenage mind." Full Review

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"Whether Shepard’s chief insight holds up is an open question even this earnest production doesn’t quite answer...Still, there’s no denying the appeal 'True West' still commands, perhaps especially for actors...Dano is entirely credible here...Hawke, of course, lives for this type of juicy role, playing dirty in more ways than one...So maybe his transformation from fearsome to beggarly is a tad brisk, but just try to look away." Full Review

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"The set-up is a Sorkin masterstroke, perfectly executed by director Bartlett Sher, a dreamy gambit that justifies every liberty this simultaneously revisionist and faithful 'Mockingbird' will take over the next two hours-plus...To my mind, only Frederick Weller’s evil Bob Ewell tosses the pitch too wide, and Sorkin deserves much of the blame there." Full Review

Network (NYC)
Midtown W
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"My late-arriving discussion of the production seems justified for a play so completely dominated by a single performance. In most other respects, 'Network' is something of a let-down, and certainly no improvement over the film...The adaptation by Lee Hall sticks close to Chayefsky’s original script, with mixed results...Cranston comes damn close to matching the power of Finch’s Beale, focusing more than he predecessor on the character’s desperate sadness." Full Review

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“Each performer has a specialty of sorts, and all are very good at what they do...Perhaps the production’s greatest trick is that it never feels like a rip-off or a TV show padded out for Broadway prices...Kid-friendly, ‘The Illusionists’ can seem a bit hokey at times and some of the tricks, though never less than well performed, aren’t exactly new...Dance group Light Balance make for an entertaining palate cleanser, though one performance would have been fine.” Full Review

West Side Story
Midtown W
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"‘West Side Story’ Rumbles Full-Force Into A New Century" Full Review

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"‘A Soldier’s Play’ Broadway Review: Stars David Alan Grier & Blair Underwood Earn Stripes In Charles Fuller’s Potent 1981 Masterpiece" Full Review

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"A Celebration Of Cole Porter’s Voodoo That Harry Doodoo So Well" Full Review

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"‘A Christmas Carol’ Broadway Review: Campbell Scott, Andrea Martin & LaChanze Raise The Spirits In Vivid Telling" Full Review

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"Love For Broadway’s Newest Star’s Got A Lot To Do With It" Full Review

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"‘David Byrne’s 'American Utopia’ Seeks Paradise, No Wires Attached" Full Review

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"Jonathan Groff, Tammy Blanchard Bring The Off-Broadway Classic Home" Full Review

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"Who Says Broadway Isn’t Ready For Jeremy O. Harris?" Full Review

The Great Society
Upper W Side
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"‘The Great Society’ Broadway Review: LBJ Meets His Match – Again – As Brian Cox Picks Up Where Bryan Cranston Left Off" Full Review

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"‘Derren Brown: Secret’ Makes Dizzying Magic On Broadway In J.J. Abrams-Produced Dazzle" Full Review

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"‘Hercules’ Off Broadway Review: Stage Adapted Disney Film Comes To Life In Central Park" Full Review

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"‘Moulin Rouge! The Musical’ Review: All You Need Is Love Songs By The Dozens" Full Review

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"There’s plenty worth a haunt here, from David Korins’ off-kilter spook house set to Alex Brightman’s raspy-voiced title performance and, most of all, the deliriously gorgeous singing of young Sophia Anne Caruso, and it all comes within reasonable reach of exorcising the bad vibes that attached themselves to the production during its pre-Broadway run in Washington D.C...The book retains the best bits from the movie without adding much of lasting value." Full Review

Tootsie (NYC)
Midtown W
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“This ‘Tootsie’ is a delight, a not-quite-blind date that plays out so much better than you could have imagined...You’ll witness a team at the top of its game...Yazbek’s score is maybe a bit too heavy on the mid-tempo numbers...Best of all is Horn’s dialogue, loaded with sitcom zingers...There’s not a weak link in this cast, though the whole thing belongs to Fontana.” Full Review

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"Outrageous, hysterically funny, and connivingly moving...With co-stars Kristine Nielsen and Julie White – both splendid – and director George C. Wolfe, Gary could seem almost greedy bringing in original music by Danny Elfman...The iconoclastic vision, the captivating balance of highbrow and low, the undercurrent of compassion for a rarely deserving species – all stay true and really rather glorious." Full Review

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“The most thrilling new original musical of the season...Carney’s is perhaps the riskiest interpretation...The choice might strike some as mannered, but it worked for me...With an ending as moving as anything on Broadway – and for hades’ sake, don’t leave before the cast finishes its curtain call – ‘Hadestown’ stands alongside Fish’s ‘Oklahoma!’ and Sher’s ‘Mockinbird’ as this Broadway season’s visionary triumvirate, looking to the past and feeling undeniably, stirringly now.” Full Review

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"Fish’s astonishing reimagining...This immersive 'Oklahoma!' is at once minimalist and explosive...The usual show tune gloss is gone, replaced with the twang and punch of roots rock alt-country...Loglines and character summaries fail here, as each character is upended from tradition and brought to vivid new life…’Oklahoma!’ rings out with a nod to the sublime, violent beauty Hendrix found in our national anthem. Is it so surprising Fish finds it on the plains?" Full Review

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"Indelible, subversive, and audaciously funny...Schreck has carried a particular true-life story within her for 30-odd years, and she springs it on us when we need it most...Schreck, a monologist in a league with John Leguizamo and Spalding Grey, will shift back and forth from the girl she was to the woman she is...A word on the old speech. It’s terrific, in and of itself...As the play proceeds, Schreck deconstructs not only the Constitution, but her younger, more naive view." Full Review

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"Whatever occasional shortcomings befall this mostly terrific revival, a spanked, put-upon heroine isn’t one. Kelli O’Hara and Will Chase are so evenly matched – in performance, talent and temperament – that it’s hard to imagine a more finely balanced battle de deux...For me, the production takes full flight with 'I Hate Men,' about midway through the first act, when O’Hara delivers a full throated and beautifully arch takedown of what later generations would simply call patriarchy." Full Review

Sea Wall/A Life
East Village
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"Tom Sturridge and Jake Gyllenhaal deliver scorching performances that can stand alongside anything on the New York stage so far this season...Our earlier encounter with the grieving dad of 'Sea Wall' has prepared us for anything, so there’s real terror in 'A Life‘s' minute-by-minute of an anything-could-go-wrong scenario. Birth and death, we’re shown, are equally precious. They are, simply, life." Full Review

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“This is a play that, like its unstoppable main character, never quits reaching for the high note, even when perfection is beyond its grasp...Memorably performed, its frequent choir songs beautifully sung by the entire cast, the production is another fine addition to Cullman’s resume...Its wonderful cast does well...Narrative issues notwithstanding, ‘Choir Boy’ is often thrilling, especially when its young ensemble gathers for the a capella spirituals sprinkled throughout.” Full Review

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"Pads the proceedings with intentionally cheesy sketch comedy, corny banter and, more successfully, thoughtful personal nostalgia...Neither Aiken nor Studdard have anywhere close to the comedic chops needed to pull off something like this...Musically, 'Ruben & Clay' is on surer footing, with Studdard’s silky R&B and gospel takes on the holiday tunes mixing very well with Aiken’s more Broadway-belting style...and the two make for fine carolers (as do their perky back-up revelers)." Full Review

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"Might not disappoint anyone likely to applaud a Bob Mackie-designed Oscar gown, but neither does it do any boundary-pushing...The lack of creative ambition and innovation is dispiriting, especially when 'Jersey Boys,' 'Beautiful' and 'Lazarus' have already proven these things needn’t be dreadful...The songs are almost uniformly well-performed...So why does 'The Cher Show' feel as skimpy as a Mackie dress? Part of it, no doubt, are the cartoonish non-Cher performances." Full Review

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"'The Prom' has gone out of its way to make young Emma normal (don’t blame performer Caitlin Kinnunen), but she seems more blah than relatable...The songs are more than clever and entertaining enough, sometimes laugh-out-loud funny, other times moving. Nicholas’s choreography, especially the Broadway pastiche stuff, is a treat, and while the concept is a good one, the book by Bob Martin and Chad Beguelin could have been pushed things even further." Full Review