Jane Dentinger

About:  Jane Dentinger was born and raised in Rochester, N.Y. She graduated magna cum laude from Ithaca College with a B.F.A. in theatre, then moved to Manhattan, where she still resides. After making her stage debut in Joe Papp’s production of Pericles at the Delacorte Theatre, she acted Off Broadway in Al... Read more Read less
Reviews (22)
60
StageBiz.com

“The play starts with Menzel delivering a lengthy screed...A comic tour de force...It’s hard to overstate what an unappealing character the aged Elliot is...and Wetherall portrays him with an air of wounded nobility that doesn’t help matters...Aukin successfully mines every nugget of needed humor to be found in this script and crafts an ending which offers a faint ray of hope for this disaffected foursome. My only hope is that Harmon comes up with a better play next time.” Full Review

90
StageBiz.com

"Michael Urie has mounted a very smart show here with the aid of Dara Wishingrad’s colorful set. But it is really Mr. Droege’s trium. I’ve never seen an actor do a better job of populating a scene with unseen characters. And I’ve never laughed so hard. In 'Bright Colors and Bold Patterns,' he creates a wry and wacky comic rainbow." Full Review

45
NY Theatre Guide

"Director Jonathan Bank has staged this production with great skill and subtlety...The fault lies in the writing...Miles Malleson may have been ahead of his times in tackling the ins and outs of marital infidelity, but he approached the topic with a kind of Shavian high-mindedness that renders the whole thing rather dull and improbable. It is a very talky play, as were George Bernard Shaw’s, but without Shaw’s wit and spark of subversion." Full Review

85
NY Theatre Guide

"In a small box of a theater, director Ralph B. Peňa works wonders with his adroit staging. As does Reid Thompson with his deceptively clever sets. This is a story told in fragments of shifting time and places. Such plays often don’t coalesce. But thanks to a talented writer and company — especially Mr. Dagger and Ms. Oh — the end of Ana’s journey has a surprising and deeply emotional finish." Full Review

55
NY Theatre Guide

"'Awry' is the operative word for this piece. Director Irizarry has a flare for three-ring circus chaos and outrageous staging. He does big things in a very small space, using the audience as props and extras...The only moments when Genet’s vision shines through are when Laura Butler Rivera and Folami Williams command the stage. These excellent actresses convey the pain and loneliness that both drive and doom these lost maids. The rest is sound and fury signifying not a heck of a lot." Full Review

70
NY Theatre Guide

“There is much to like here. Andrew Willis-Woodward has directed this two-woman piece with spare style...But, as always, the play’s the thing. Paz Pardo’s story promises more than it delivers...Kayla Jackmon’s charismatic performance as Ceci does much to enliven things. But Ceci is the better-written role while Ms. Owens struggles valiantly to breath life into Nina, who is a one-note character. That said, this is still a worthy production." Full Review

100
NY Theatre Guide

"Director Scott Ellis has such a sure sense of the material and such trust in the lilting score by the late, great Jerry Bock and Sheldon Harnick and Joe Masteroff’s book, that he never puts a foot wrong. And how could he with Warren Carlyle’s brilliantly inventive choreography in play?...What is so right about 'She Loves Me' is its effortless charm. Of course, 'effortless charm' is a theatrical oxymoron. And it doesn’t happen without a stellar cast. This one is solid gold!" Full Review

75
NY Theatre Guide

"'Angel Reapers' is an impeccably mounted production with stark sets and moody lighting. The cast of five men and six women are uniformly fine...I only wish the play had allowed us a deeper glimpse into Ann Lee’s nature and those of the individuals who followed her. Movement overwhelms meaning in this piece and, with a playwright as gifted as Mr. Uhry on hand, that seems a pity. 'Angel Reapers' is an arresting play, but not a truly enlightening one." Full Review

85
NY Theatre Guide

"'Allegiance' is a beautifully mounted production thanks to Stafford Arima’s masterful direction...And there are moments here that will haunt you, especially the 'Itetsuita' number in the second act...It was one of the most stunning moments I’ve ever witnessed on stage. Which is why it pains me to say that the music and lyrics don’t quite rise to the subject matter of this important and ambitious piece. But, despite that, I swear 'Allegiance' deserves your attention." Full Review

40
New York Theatre Guide

"Most of what happens happens off stage, and so, 'Pimm’s Mission' misfires...It fails to deliver because it’s far too easy too see where the plot is going from the get go. Even when the denouement comes, there are niggling little holes in the scenario that make it unsatisfactory for the audience. As I said, Plot is a harsh mistress, and she can be a real pain when her needs aren’t met." Full Review

85
New York Theatre Guide

for a previous production "While Creighton doesn’t quite possess the uncanny indifference to gravity that Cagney had, he does a more than creditable job of re-creating his Yankee Doodle Dandy numbers. He and the whole cast are real hoofers in the grand Hollywood tradition of hoofing. You haven’t seen tap-dancing like this in a long while and you’re not likely to see it again any time soon...The whole production lives up to its Hollywood antecedents." Full Review

80
StageBiz.com

"In this new revival, Stoppard still goes on. (Really, in all these years, no one suggested any cuts?!) However, I didn’t care because the tremendously talented Tom Hollander plays Henry Carr and he is amazing!...Director Patrick Marber has staged this production with an infectious, demented glee. Kudos to a top-notch cast and to Tim Hatley for his superb sets and costumes." Full Review

70
NY Theatre Guide

"Director Jerry Ruiz has worked with Ms. Saracho before and he shows a sure hand here. Two-character plays aren’t easy, but Mr. Ruiz knows exactly how to keep things roiling. But his staging doesn’t succeed in disguising the predictability of the plot...What was surprising, to me at least, is how badly the Lucia character comes off here...Both Annie Dow and Eddie Martinez give fine performances." Full Review

95
NY Theatre Guide

"A brilliant collaboration of talents, highlighted by the finest ensemble cast that I have ever had the privilege to behold. More than that: it is a very fine play…It couldn’t be more timely. Director Liesl Tommy has done a masterful job here and she couldn’t have done it without Millicent Johnnie’s rousing choreography…I’ve never written these words before: 'Party People' is an important play. So, please do yourself a favor, and RUN to see it." Full Review

70
NY Theatre Guide

"Denis Arndt gives a beautifully modulated performance...Mary-Louise Parker pretty much has the market cornered when it comes to eccentric charm. She gives a fine performance here, but all her skills can’t erase the fact that the overly needy Georgie Burns is essentially an emotional bully. Ms. Parker is a truthful actor, but playwright Stephens has created a character that is hard to root for, much less wish love, strange or otherwise." Full Review

75
NY Theatre Guide

"Mr. Kail’s direction is seamless and—no surprise— Quiara Alegría Hudes’ writing is wonderful. But much of her sly humor is lost here amidst domestic and political polemics, which makes some of the performances seem forced. Still there is fun to be had in Daphne Rubin-Vega’s sly turn as Inez...However, it’s Samira Wiley’s tender and passionate rendering of Ruby, who goes from 11 to 15 to 20 to 25 to 29—and back again!—that gives this play its heart and meaning." Full Review

90
NY Theatre Guide

"Hal Brooks’ direction is impeccable…But the great fun here is in watching this talented cast double and triple up on roles…And then, there is Kelley Curran! This brunette bombshell essays four different parts with the kind of comedic élan that made Carole Lombard a legend. Trust me, funny and sexy isn’t an easy thing to pull off. Ms. Curran makes it look like a day at the beach on Cannes. Vive La Kelley!" Full Review

70
NY Theatre Guide

"A fascinating if uneven show. Director David Staller has mounted an impeccable show, aided by Brian Prather’s pristine set, Barbara A. Bell’s accurate costumes and Peter West’s lighting. The unevenness has solely to do with Shaw’s script. It was, after all, his first play. So most of the characters are two-dimensional at best. The Shavian wit is blunted. The humor, such as it is, is forced…As Shaw would like, we walk out of the theater thinking." Full Review

65
NY Theatre Guide

"Scott Ellis has directed a first-rate cast in this piece…John Lee Beatty’s sly sliding sets are nothing short of miraculous. They move the action seamlessly. I just wish they were in service to a better play — because, finally, there is nothing new or truly revealing about 'Dada Woof Papa Hot'…This is a handsome show with fine acting, but it doesn’t really offer any fresh insights about what it takes to make a family." Full Review

95
NY Theatre Guide

"With any great performance, or great play, there is always an element of mystery. That is doubly true of Robert O’Hara’s raunchy fun-fest. In fact, the reveals are so terrific that the audience doesn’t even receive programs until the intermission. And for very good reasons. Such good reasons that I’m at a loss to tell you why you should run, not walk, to this wonderful production." Full Review

95
NY Theatre Guide

"Paul Hunter is a one-man repertory company...An actor’s life, be he a stroke victim or no, is a perilous one and it so very easy to lose one’s footing. But when the actor is Edward Petherbridge it simply does not apply. He is charm and grace personified. Like another great Shakespearean character, age cannot wither him, nor custom stale his infinite variety." Full Review

90
New York Theatre Guide

"This insanely talented guy has made my childhood dreams come true!...Kudos to director Fiely A. Matias and all the production people involved...But most importantly, it’s those ladies — their voices, singly and collectively. Each and every one of them could sing opera or hard rock effortlessly. We are talking MAJOR PIPES. Heck, who needs a prince when you’ve got princesses like that?" Full Review