Gregory A. Wilson is a critic with CurtainUp. 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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"One of the big problems is that things never go that sideways...Any problems that crop up somehow conveniently go away. The result is a sort of uneasy disquiet for the audience...Unfortunately direction and acting don't help these matters. Peter Dobbins' direction is ponderous, and keeping the script almost untouched does the production no favors. And most of the actors can't pick up the slack on their own." Full Review
"A moving, thoughtful story about parents, children, friendship, and love...It's a well-constructed plot in a well-conceived play. But the production really works because of its characters and the exceptional acting which brings them to life...For a 'basketball play,' there are a few odd times where the production seems curiously static. But these missteps are few and far between. For the most part, Yee's play is compelling and powerful, with performances (especially Wong's) to match." Full Review
"Emily Carding plays the infamous Richard III with insight and intelligence, and nails his unique blend of malice, sociopathy, and charm...but what makes the show truly shine is its interactive quality…Carding handles the variety of reactions masterfully throughout, maintaining focus on Richard and his story…It's good enough that it deserves to get a second look off-Broadway, and in my opinion ‘Richard III’ is one of the best Fringe shows in 2016." Full Review
“The problem is that you can't just throw together characters without believable motivations on stage and hope it all works out... Too often during the play the characters act bizarrely...It's as if there are gaps in the script which never got filled, and the result is a strange, oddly paced, and tonally uneven production (made worse by the inability of some of the actors to project). ‘Paradise’ isn't awful, but it's a shame to see something with potential end up as eminently forgettable.” Full Review
"'The Wildness: Sky-Pony's Rock Fairy Tale' is smart, thoughtful, and exceedingly well-executed, and it ought to be on the short list for a lot of awards this season. If you care about live musical theater — and in particular, live musical theater which only New York can deliver — go see this, as soon as you can." Full Review
"There are so many moving parts that things are bound to slip here and there—and they do, with some odd pacing in spots, some strange tonal choices, and other inconsistencies which mar the production...Despite its issues, I found this to be the most engaging and intriguing performance of the play I've seen. It's good, challenging work from a highly regarded company and director, and if you like to see the work of the Bard pushed without being mangled, this production is well worth your while." Full Review
“Solid direction and excellent music...Taub, who also plays Feste, is responsible for all of the excellent music and lyrics...A few of the actors struggle, and the performances aren't perfectly even. But the show gets a major boost from its main performers...Taub's acting isn't quite up to her music...Still, this is a minor issue since it can't override the quality of Shakespeare's work or the energy and enthusiasm of everyone working on this production.” Full Review
"A pleasant and funny tribute to the era of speakeasies, bootleggers, guys and dolls...Nothing about any of this is particularly new or surprising, but arguably that predictability is one of the production's greatest strengths...Playwrights Scott Alan Evans (who also directs) & Jeffrey Couchman understand their source material and its roots...A graceful, funny, and warm production." Full Review
“A derivative, nonsensical mess, ripped off from multiple superhero origin stories which all did their jobs better than this one does...The music is forgettable and, unfortunately, beyond the vocal abilities of most of the performers who, despite their obvious enthusiasm, struggle to stay in tune, and they get little help from a dreadful pit orchestra. But the biggest problem, and the one which probably underlies all the others, is that the show has no idea what it wants to be.” Full Review
“Excellent direction from Marc Vietor...and universally exceptional acting from the cast...It's unfair to single out anyone when everyone is so good—this is great ensemble work. But what is more striking than the professionalism on display is the sense of fun. Everyone seems to be having a good time here, with pitch-perfect line readings, great timing, and excellent physical work...If you have even the faintest interest in classic theater, you should go see ‘Scandal’ as soon as you can.” Full Review
"I wish that in the process he, and the Irish Repertory Theatre, brought more to the table than just a well-rendered translation...Some of the elemental power of raw emotion remains, and of course Heaney was a superb poet...But we are simply politely intrigued, and I view that as a missed opportunity for both a play and production which could, and should, have gone for more." Full Review