Gregor Collins is a critic with Theater That Matters. 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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"A deftly-acted, ingeniously directed, and deliciously meta frolic around the set of an iconic TV commercial...If you’re either Luke Wilson or Erol Morris you might have a problem with this play. Everyone else is in for a treat...If you’re like me and you have a few screws loose in a good way, you’ll appreciate the whimsically offbeat tone Ackerman and Rebeck have created here...Ackerman’s droll script finds unexpected depths in its disturbing account of power in the workplace." Full Review
"The first few minutes of 'The Bigot' felt trite, preachy, and patronizing—not a play I planned on recommending. But just like Jim The Bigot, over the course of the evening, I grew...Being a writer, I had self-serving issues with the script, but ultimately this play is too valuable to harp on anything other than why you should see it...Director Michael Susko stays out of the way of the actors, and lets the prevailing message shine through clearly." Full Review
“Zero drama...For a ‘dramedy’ that surely fancies itself more comedy than drama, having the majority of laughs coming from the occasional joke spouted off a notecard isn’t exactly a good sign...The evening didn’t do much for me...The whole blacklisting movement isn’t really addressed with any depth—fine, so if that was the case, what’s left is a borderline unlikable, snarky comedy writer fumbling around his office answering phone calls for 90 minutes with no intermission. " Full Review
“One of the most physically intense hours of theater you’ll ever see...’Crossroads’ is the theater experience equivalent of a Rothko painting—you don’t really go to see it for the form or the shape or even the story, you go to have it make you feel something, to take you on a visceral ride...It’s a sit-back-and-be-prepared-not-to-so-much-as-itch-an-itch type of play from beginning to end.” Full Review
"You don’t have to see the show multiple times to feel its gallivanting pathos—you need but once. And if you’re patient during the 'set up', you’ll eventually be girded with a seductive coalescence that come-hithers you into a hyperrealistic world that feels like if 'Alice in Wonderland' and 'A Christmas Carol' had sex in an abandoned New York bodega during hurricane Sandy." Full Review
"Though an intermittently choppy journey, a final destination whose modernized performances and dauntless direction seamlessly transmute 1603 into 2019...Director Brandon Walker had fun with the set and the blocking, at impromptu moments breaking the fourth wall. It all worked to give the show a more modern salience, and keep our eyes glued to the unfolding drama." Full Review
"'Eat the Devil' packs a poignancy punch under what you might initially have written off as mere absurdist comedy belonging on the final-sketch-of-the-evening on Saturday Night Live. But no, there’s something way deeper going on here...The real beauty of the show is that in the throes of folly, the genuine moments of connection, of angst, of loss, and of love, keep us truly grateful for Off-Off Broadway theater at its delicious-est." Full Review
"There was, from my perspective, no deficiency of authenticity. And Forde’s talent as an actor was cemented when her endearing grit kept circling around my head on the way home...Forde also penned the script, which never really fully took us on the rollercoaster ride we wanted, and, aside from the final, affecting moments, we pined for more poignancy to offset the often one-note, acidic rants. In the end, though, Forde’s formidable stage presence made it worth the trip." Full Review