Jason Zinoman is a critic with The New York Times. 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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"Dave Chappelle on Broadway: The Joke Is Getting Old. The comic hasn’t adjusted his material for the setting: he’s still defending wealthy, famous peers and joking about transgender targets." Full Review
"The delightfully perverse, political-themed installment of the annual macabre merriment led by the writer and performer Clay McLeod Chapman provides strong evidence that the bloody tools of Lovecraftian horror are effective this political season...It’s Mr. Chapman, bald with a beard pointy enough to poke an eye out, who really commands your attention...It’s a spooky performance that eventually finds its way to comedy, but takes the scenic route." Full Review
"Just as theater is always dying, New York is perpetually over. Complaining about its demise, however, remains one of its wonderful traditions, and Colin Quinn, a comic alert to ritual, plants himself firmly in the middle of it in his new monologue, 'The New York Story,' a nostalgic lament that makes for a lovely summer evening." Full Review
for a previous production "While keeping the action in one room, the play impressively trims exposition to a minimum, but inevitably the dialogue becomes clunky. And while you can follow the play if you missed the first installment, the ending seems more like a set-up for Part 3 than like a conclusion. Still, two hours zip by. It’s a credit to the propulsive plotting that amid debates about dissent, love and honesty, the question 'Blast Radius' most frequently prompts is simply: What happens next?" Full Review
"“Black Angels Over Tuskegee,” Layon Gray’s sturdy drama about trailblazing African-American fighter pilots entering the European theater in World War II, gets by on the charm of the cast and a commitment to the rules of the uplifting inspirational melodrama." Full Review
for a previous production "Clay McLeod Chapman — playwright and co-star of 'The Pumpkin Pie Show,' a series of gripping, often unnerving short plays — has been unsettling audiences with this evolving collection for a decade....These are weird, creepy tales, but they are more than that. At his best, Mr. Chapman uses the macabre to explore the humanity of his characters and reveal an almost spiritual side to the horrific." Full Review
for a previous production "The Blue Man Group retains a certain mystery, which is part of its appeal. It’s almost impossible to describe “Tubes” in a few sentences. It’s one of the only long-running hits that audiences will see for the first time without really knowing what to expect." Full Review
“A nerve-jangling adaptation…Using a horror movie vocabulary, the virtuosic production makes the dark implications of out-of-control state power feel urgent and real…Anchoring the play is the romance between Winston and Julia, a rambunctiously vivid Olivia Wilde…The production still ends on a chilling note, one that’s both in keeping with the world Orwell creates while resolutely refusing to send the audience home with an adrenaline rush of hope.” Full Review
"Schmidt nicely captures the language of the locker room, mixing bromides with a steady stream of jargon about matchups and defensive schemes...But 'Our Last Game' falls flat. His limitations as an actor show. It’s a blunt, workmanlike performance in a play that needs something more charismatic and complex. Mr. Schmidt is a hustler, but in theater as well as sports, sometimes you need a star." Full Review
for a previous production "Ms. Cheek’s showy performance, marked by a spontaneous, giddy sense of play, complements this script perfectly. While the drama raises fascinating questions about rebuilding society, Ms. Cheek reminds us that science fiction should also be fun...Ms. Cheek is such a kinetic dynamo, Ping-Ponging from one emotional moment to the next, that what direction Ronnie takes remains a mystery until the satisfying end." Full Review
for a previous production "What distinguishes 'Bad Kid' is not its plot or its theme but its vivid characters. By using precise accents and gestures that reveal far more than superficial attributes, Mr. Crabb evokes several memorable people in his life, who begin as stereotypes but don’t end there. His campy diva pal, Roxanne, steals the show, but the equally complex skinhead Zach also resists pigeonholing." Full Review
for a previous production “In a biographical solo play about a celebrity, you can usually count on a few things. The conceit designed to get the famous person to narrate a highlights reel of a lifetime is going to be strained.…Those who see ‘Zero Hour’ are signing up for these conventions, so criticizing them is like bemoaning a musical for having a character break into song…How well does Jim Brochu imitate the singularly captivating Mostel?…It brings him back to life, just the way his fans want him.” Full Review
"But if you stick with the story - and considering the turgid performances, that's asking a lot - it does make sense and even has a certain thematic elegance. As the illusions reveal themselves, a confusion and sense of terror slowly build. Or at least that's what should happen if the production wasn't so lethargic." Full Review