Isabella Biedenharn

Isabella Biedenharn is a critic with Entertainment Weekly. 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 (16)
Entertainment Weekly

"A head-spinningly packed Act I spends far too long setting up these various threads...Act II is much smoother, and features some of the show’s highlights, like Squidward’s gorgeous tap number...It’s something of a challenge to stay fully invested and interested in this world for two hours and 30 minutes. But 'SpongeBob' certainly deserves points for creativity...Overall, it’s an entertaining, if overstuffed and a bit too experimental, homage to the long-running cartoon." Full Review

The Wolves
Upper W Side
Entertainment Weekly

"'The Wolves’ most impressive feat is its subtlety: DeLappe’s script is empty in all the right places, as the audience pieces together aspects of the characters’ lives from clues given...This is also a testament to both Neugebauer’s direction and the cast’s innate understanding of their characters...A play that takes teenage girls seriously, never leaning into easy parody, but instead elevating their struggles and successes into an unforgettable, deeply moving work of drama." Full Review

The Portuguese Kid
Midtown W
Entertainment Weekly

“Most of Shanley’s jokes are deliciously funny in his actors’ hands...Not every joke lands...Even the titular joke pales in comparison to far wittier one-liners... When it tries to tackle more existential questions about life, love, and purpose, it falls short. Still, 'The Portuguese Kid' makes for a wildly entertaining couple of hours of whip-smart banter — as long as you don’t expect much substance beyond that." Full Review

Entertainment Weekly

"Linney shines in the role of Regina, her deep voice and deceptive dimples perfectly suited for the character’s commanding presence...Perhaps Nixon seems like the lesser Regina only because she is so brilliant as Birdie...Of course, this repertory-style casting demands comparison of the two stars, and Nixon’s Regina and Linney’s Birdie are in no way disappointing. It’s still a treat to watch these masters at play, along with the rest of the vibrant cast." Full Review

The View UpStairs
East Village
Entertainment Weekly

"'The View UpStairs' sags at times. A few minor characters’ forgettable songs could easily have been cut, ideally to make room for more of the absolutely scene-stealing, uproarious bits from 'old queen' Willie...Still, the show swells with heart, and its characters and the history they represent should rightly be celebrated and remembered. 'The View UpStairs' is ultimately a moving homage to LGBT culture, past and present." Full Review

Love, Love, Love
Midtown W
Entertainment Weekly

"The premise and structure of 'Love, Love, Love' is intriguing: In three acts, with an intermission between each, we leapfrog across the decades...'Love, Love, Love' might have redeemed itself if it contained a modicum of the love its title boasts, or if any of these characters had even the slightest bit of an arc, but they don’t...By the end of 'Love’s' two hours, it feels almost as if the play’s four-decade span happened in real-time." Full Review

Allegiance
Midtown W
Entertainment Weekly

"In fact, when it’s not threatening to rip your heartstrings out all together, 'Allegiance' is quite entertaining, with 1940s dance numbers, nods to the Andrews Sisters, and bits of jazz influence. Even if it’s not 100 percent original all the time, 'Allegiance' is an important show with a phenomenal cast, and it deserves to be seen." Full Review

The Sound and the Fury
East Village
Entertainment Weekly

"Between this visual dissonance and soundtrack of wailing and radio static, we get some sense of the blurry turmoil of living as Benjy. 'The Sound and the Fury' is the sort of work that’s tough to take in initially, but that stays with you long after, like a slow drip of oil onto the gears of your mind to ensure they’ll keep spinning." Full Review

The Parisian Woman
Midtown W
Entertainment Weekly

"Unfortunately, Willimon brings none of his shrewd insight into the political machine to the stage here...They’re amusing enough, but don’t offer any more insight than a five-minute scroll through Twitter would, and it quickly starts to feel stale and cliché. Likewise, Thurman’s Chloe feels uninspired, and the actress doesn’t slip smoothly into the role...Still, the show has its pleasures: Soo is wonderful...And some of Willimon’s lines are deliciously funny." Full Review

Junk
Upper W Side
Entertainment Weekly

"'Junk' makes the world of 1980s finance utterly riveting, despite a relatively predictable plot...Despite Akhtar’s attempts to complicate our feelings, it’s difficult not to see these already rich people pushing numbers around and tearing apart family-owned businesses as the bad guys...Still, it’s an enthralling production...And despite each character’s path seeming inevitable, their choices — or lack thereof — will stick with you long after the final bow." Full Review

1984 (Broadway)
Midtown W
Entertainment Weekly

“‘1984’ doesn’t have the same foreboding effect audiences might expect from a book that’s continually felt eerily prescient for decades. Still, the acting is phenomenal and the wildly innovative production makes for a memorable show…A play doesn’t allow for quite the amount of world-building that can be accomplished in a book, so the full extent of Big Brother’s rule isn’t quite as rich as it is in Orwell’s original work. But the creative team has found new ways to bring the story to life.” Full Review

Entertainment Weekly

for a previous production "An immersive, hilarious evening...Admittedly, two hours of nonstop pandemonium gets exhausting, and even with the intriguing character development (or degeneration), the curtain comes as a bit of a relief. (You can only cringe so many times before getting a cramp.) But on the whole, 'The Play That Goes Wrong' is just right: A ridiculously entertaining disaster." Full Review

Othello: The Remix
Midtown W
Entertainment Weekly

"They lean into the comedic side of the tragedy throughout the show, and everyone looks like they’re having a blast. Their jubilation is infectious...Though some of the jokes are repetitive or go on a bit too long, the play’s quick run time keeps this from becoming a real issue. What’s slightly more concerning is Desdemona...She’s just a disembodied vocal solo piped through the speakers...Quibbles aside, 'Othello: The Remix' is a thoroughly entertaining way to spend an evening." Full Review

Entertainment Weekly

"With Timothy Olyphant anchoring a pitch-perfect cast, and with Lonergan’s absolutely uproarious script, it’s the farthest thing from tragedy...Olyphant exudes palpable charisma...Act I carries the audience on such a grand wave of laughter that the momentum slips a little during a slightly too long Act II—and the ending feels a bit anticlimactic. But the only real downside of this utterly delightful show is that C.J. Wilson’s Duke doesn’t have enough stage time." Full Review

Of Good Stock
Midtown W
Entertainment Weekly

"Playwright Ross’ quips give 'Of Good Stock' the engaging feel of a good sitcom, though the jokes are particularly suited to an NYC audience... It is only during the sisters’ climactic airing-of-the-grievances stretch where the play begins to feel longer than its breezy two hours. (Silverstone’s eventual meltdown may put a lump in your throat as it crescendos, but the scene drags on far too long.) Still, the skilled performers elevate a potentially 'Stock' setup to a relatable and thoroughly ... Full Review

Entertainment Weekly

"An absolute delight–energetic and funny, with eyes that literally twinkle, even when she’s rolling them...This modernized 'Gigi' comes bearing extra sass...All in all, 'Gigi' is a wonderful treat." Full Review