Jeremy Gerard

Jeremy Gerard is a critic with Deadline. 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 (250)
75
Theater News Online

"For all the pleasures this revival offers, Ellis’ production comes with several serious caveats. Purists will find Green’s tweaking of the book more sore-thumby than the similar but smoother surgery Guare performed...Ellis, a superb director of these revivals, opts for a purposely dated style here, most evident in having his stars front and center, delivering the delicious soliloquies – directly to us. Wrong...A very good presentation of a very great musical." Full Review

80
Theater News Online

"The gifted director Trip Cullman conjures a gorgeous conspiracy of elements – aural, dramatic and visual – in making the strongest possible case for Tarell Alvin McCraney’s affectingly sentimental memory play...How Pharus negotiates the treacherous waters of Drew, sometimes with success and as often in heartbreaking failure, is the subject...The boys in the group, guided by music director Webb, make an angelic sound and are given frequent chances to amaze us." Full Review

65
Theater News Online

“Uneven but ultimately moving...A visit from Arnold’s widowed mother leads to the confrontation that is the heart of the play...Until that showdown, 'Torch Song' is a good-hearted misfire...Urie is way more over-the-top in the flamboyance game than Fierstein was. More problematic, Fierstein wrote the role with his voice as natural punctuation; Urie’s seems like imitation goods...And yet both Urie and Ruehl deliver the goods in their big my-grief-is-better-than-your-grief confrontation.” Full Review

85
Theater News Online

"Lonergan, who has a genius for dialogue that sounds ordinary while carrying vast emotional weight, makes Gladys the enduring subject of one of our worst fears...Lila Neugebauer has staged a production sublimely keyed to the nuances of character while never losing sight of the overwhelmingly sad tale within. And I’ll wager Elaine May is masterfully in touch with Gladys’ soul as well as her lines. She makes the danger palpable." Full Review

80
Theater News Online

"Van Hove is well suited to this material...'The Damned' is as unsettlingly lurid onstage as it was on film...The technical mastery in evidence is seamless, and the company is astonishing...The final image will surely leave some in the audience rattled to the core, while confirming for others what many critics felt about the Visconti film: that it was Nazi kitsch on a grand scale. I must admit to falling somewhere in the middle." Full Review

90
Deadline

“Ensler adapted her harrowing, revelatory 2013 memoir into an equally harrowing, revelatory play…Paulus has drawn an astonishing, and astonishingly anti-maudlin performance from Ensler…Some of it is blessedly hilarious. Most of it isn’t. And yet ‘In the Body of the World’ is tough love, harsh medicine, a tonic...I came out rattled as I have rarely been rattled by any theater experience, devastated and blissful at the same improbable time.” Full Review

65
Deadline

"A dark vein of cynicism churns Pierce’s blood that keeps pulling 'Cardinal' back from the edge of cutesiness...Whoriskey isn't as fully in control of the work as I expected. As likable as the two stars are, they swallow some of the best lines and haven't quite got the rhythm of the repartee...Above all, however, 'Cardinal' is a lot of fun until it wears out its welcome. That happens a good 20 minutes before an overwrought ending that lets all the air out of the show." Full Review

90
Deadline

"Insightful writing, deft staging, an irresistibly appealing cast...The focus on Kelechi – and Udofia’s riveting, subtle transformation from aloof interloper to reclaimed villager open to forgiveness and revelation – are exhilarating to watch...'The Homecoming Queen' is rich and deep, a show to treasure. It should be moved to a bigger space and given a chance to breathe." Full Review

90
Deadline

"It’s the best play and the best production of the season so far...Yes, it has a beginner’s nicks – unnecessary use of anachronism, a sometimes heavy-handed symmetry. But in the end, it’s wildly entertaining in the moment, and resonant in the aftermath. It’s not only fun, it’s really about something...And then there’s Rylance...Meticulously off-handed, it’s funny and sad, a performance to be savored in a totally engaging little triumph of a show." Full Review

90
Deadline

“Exceptionally entertaining, not to mention deeply moving...An earlier version was seen at last year’s Under the Radar festival, and it’s gotten sharper and better in the year since...Accompanied by four equally personable and talented musicians on a stage seemingly lit by Edison bulbs and astutely directed by Anne Kauffman, the show takes just 90 fleet minutes to sink its teeth into your heart. It’s funny and charming and dead serious without ever being deadly.” Full Review

80
Deadline

“The last 40 minutes or so is such mind-rattling, eye-popping, rib-tickling fun that maybe I should just stop right there. Not that this popular series is ever short on energy, visual spectacle, inside-Bikinisms and the like...For, first-act problems aside, this show, ingeniously staged by Landau and choreographed by Gattelli within an inch of its CO2 life, has more to offer than we had any right to expect in this era of dreary Broadway knockoffs of Hollywood dross.” Full Review

20
Deadline

"Peppered with newsy references that suggest not so much keen-eared timeliness as a script in flux right up to curtain time. Which may explain why 'The Parisian Woman' is such a train wreck...The dialogue is stilted and delivered haltingly even by the pros in the cast...The amateurism defeats both the director and the more experienced actors onstage...The zingers don’t zing, the flings flop, and 90 minutes pass like the first year of the administration of One Who Must Not Be Named." Full Review

85
Deadline

for a previous production “While you’re waiting for the musical version of the movie to arrive on Broadway this spring, warm up with this remarkable journey into a Ghanaian girls’ school...Staged by Taichman with an irresistible combination of verve and sensitivity, ‘School Girls’ is pretty impossible not to love, even as the play takes a predictable turn into heart-on-sleeve coming-of-age territory. The ensemble is flawless and so engaging that this MCC Theater production has now been extended twice." Full Review

90
Deadline

“A feral revival under Mark Brokaw’s direction...The fireworks come from the two prisoners and a playwright whose gifts for street poetry and philosophy are not attenuated by niceties. I would say he takes no prisoners but the opposite is the case. Especially as played with uncompromising ferocity by Carvajal and Gathegi, Angel and Lucius set the stage ablaze, in a production that has no business closing this week and ought to be on Broadway.” Full Review

85
Deadline

for a previous production "Crudup switches not only among Philip, Harry, and his sneering father, but also will transform himself with the widening of an eye, a deft riposte, into each member of the all-to-eager family. It’s a dazzler of a performance, choreographed with precision by director Leigh Silverman. It’s also quietly unsettling, I’d say even shocking, as we realize there’s a void where Harry’s soul should be. That’s what gives 'Harry Clarke' its inevitable poignancy." Full Review

85
Deadline

“Leguizamo interweaves his own story with a hilarious retelling of the advances and destruction of the Aztec, Maya, and Inca civilizations, and the rise of modern Latin culture...There are visual aids, many jokes and a sober mission at work, all effectively pushed to the max...The conclusion of this rich entertainment isn’t what you expect - Leguizamo’s genius rests in part in his ability to continually surprise us – which makes it all the more satisfying.” Full Review

95
Deadline

"Feed your soul: Go see 'The Band’s Visit'...Has stayed with me in the year since it opened off-Broadway, like a dream from which I never wanted to awaken...David Cromer’s production and an incomparable ensemble could not be bettered...Each character is carefully fleshed out over the course of the show’s single act...'The Band’s Visit' flows as if in a seamless, tidal movement, like an ode." Full Review

55
Deadline

"A very good Dead cover band takes a tour of the band’s hits...Sorry to say, the good music comes wrapped in decidedly un-good nonsense...On the plus side, Kovach has used the space well, with an open, colorful setting...Chimenti’s arrangements do justice to the catalog of songs...'Red Roses, Green Gold' isn’t so much a long strange trip as it is a brief tumble into cozy, pain-free nostalgia." Full Review

85
Deadline

"Both visually and intellectually, this revival is a wholesale departure from John Dexter’s original production, a decision that turns out to have been wise choosing. This 'M. Butterfly' is every bit as memorable as the original...This conventional style for such an unconventional script has the salubrious effect of throwing the action into high relief, and allows both Owen and Jin Ha to shine; they’re mesmerizing...A heated, intensely provocative show. It never lets up." Full Review

45
Deadline

"If ever a play accurately summed up Aristotle’s definition of drama, it’s Anna Ziegler’s ‘The Last Match’...'Match' aspires to something bigger, more meaningful, than a tennis match. Ziegler writes great repartee, which is nothing to sniff at. But her play is formless and whatever point it hopes to score is lost in a squishy ending. It doesn’t work, either as metaphor or tragedy – not even as imitation.” Full Review

60
Deadline

"New but not exactly fresh. It builds humorously if haltingly, through performances that push too hard...Uneven direction...The physical humor never quite works. But the hollerfest is pungent, and it’s amazing, too...Urie skates across Arnold’s words...Ruehl is fiery and on top of her game...One element he’s given surprisingly short shrift in this revision is that wrenching music...That’s what’s just off-the-mark here. What’s missing isn’t the trilogy, it’s a torch." Full Review

85
Deadline

"You might think Bruce Springsteen doesn’t belong on Broadway, but you would be wrong…‘Springsteen on Broadway’ is a perfect concert…An electrifying (well, an acoustifying) session of mostly big big songs rendered without embellishment…‘Springsteen on Broadway’ is written as much as sung and, rock’n’roll or no, it’s a serious gig. Bruce flattered everyone there with his attention, and the attention to detail." Full Review

35
Deadline

“A mess that lands primarily as a showcase for the amazing Scott Shepherd…The effect of John Collins’ gimmicky production is breathless, as if to say let’s race through this and just get to the good parts. But the good parts are nearly as incomprehensible (except when Shepherd is commanding a scene). With the language – especially the good parts – spun into a word smoothie, I couldn’t really tell what the point is.” Full Review

90
Deadline

"Rarely have I seen such widespread joy cross so many faces like the wave at a football game as I observed during John Doyle’s fleet, exuberant, giddy-making production. And for good reason...The comedy is robust, the gravitas is deep yet not portentous...The heavy linguistic lifting is handled with ethereal bliss by a trio of experts...There’s magic in the air, and then, in just 90 too-brief minutes, it’s gone." Full Review

65
Deadline

"Neil Pepe’s production of this earlier work, about three generations of an English family coping with a tragedy that is only glancingly mentioned, is meticulous and the cast is flawless. But it’s not a top-drawer work, and it left me wondering–especially as I struggled through the thicket of impenetrable accents on display–what compelled the Atlantic to present it." Full Review

75
Theater News Online

"It’s cannily and rhythmically, if not literally, true to the characters and predicaments of the Sholem Aleichem tales on which Joseph Stein, Jerry Bock and Sheldon Harnick built their folk musical...All this conspires to offer a 'Fiddler' unlike any you’ve seen before and promising, no matter how many times you’ve heard that luminous score, a fresh and joyful revisit...I object to Dan Moses Schreier’s over-amplification, which frequently wrecks the intimate scale of the proceedings." Full Review

80
Theater News Online

"The glittering, gilded-lily work of experts who excel at their craft...A sharp sense of when to pause the non-stop delirium of Gattelli’s ferocious dances long enough for a bit of emotion to remind us that a mostly real story is unfolding. It happens when Cher pays an unexpected and heartfelt tribute to Sonny...It’s good-hearted hagiography and fun. If you’re a Cher fan, it will please you, and if you’re not, it won’t...Either way, you will leave the theater a devotee of Block. She’s a musta... Full Review

55
Theater News Online

“Anderson’s play is not about the devout farm girl...It’s about her mom...There remains a rough-hewn, anachronistic quality to the dialogue that never lands as deliberate, but rather, annoys...They don’t bring us into the story so much as block us out. Isabelle’s narration has the same effect, and director Penn draws out his star’s actressy earnestness when less might have been more...The play’s best scene doesn’t involve Joan at all." Full Review

35
Theater News Online

"More sympathetic types will describe the show as satire, especially given the bona fides of director John Rando. Trust me, 'Gettin’ the Band Back Together' is not satire...The show grows increasingly desperate and reactionary...The plot sinks lower and lower into audience pandering...Will remind you, at different moments, of 'The Wedding Singer,' 'Rock of Ages,' 'School of Rock' and the Kars4Kids commercial, all of which look like Mozart’s Requiem by comparison." Full Review

75
Theater News Online

“Dazzled! Stunned! Devastated! Bewitched! Ravished! Haunted! Mesmerized! Gutted! Wrenched! Heartbroken! Gobsmacked!...All those exclamatory ejaculations apply in the case of Kelly’s seductive ensnarement of a play...The work here is elegant, harrowing and flawless...Here’s the hard bit, though. I didn’t believe much of Kelly’s script...This journey into hell is being narrated by a character not much loved by the author...'Girls & Boys' pulled me violently in different directions." Full Review

75
Deadline

"Heartbreaking is an apt word for McNally's obvious love for these complicated characters whose ferocious self-regard is of a piece with their compulsion to produce art. It's what links the artist and the impresario. It's ultimately anti-romantic and perhaps lacking in conventionally dramatic narrative, because so much is hidden in the heart (not to mention the bedroom). Yet in McNally's compassionate vision and Doyle's exquisite evocation, it's terribly human." Full Review

75
Deadline

"'Jericho' is not a lovable play, and yet I found it unaccountably moving...The first act is defeated by the small space and Braza’s graceless deployment of her company, and it’s not helped by the amateur device of a narrator...Something almost miraculous happens when we return from the intermission...The awkward pacing of the first act gives way to a beautifully choreographed death scene the actors can really sink their teeth into." Full Review

70
Deadline

"Daniel Sullivan directed this long-developing show, and it’s fleet. But Lithgow isn’t well served by the design...As someone who loves the short story form, I know one reader’s Wodehouse is another’s I.L. Peretz, one reader’s Cheever is another’s Pynchon. Lithgow is deeply impressive in sharing two wildly different examples. I wasn’t sold on the first, but he had me at Pongo." Full Review

25
Deadline

“’Riot’ concerns a smacked-out mother and her son and daughter, the former a lesbian except when she’s not; the latter a tough pretty boy who hangs with a group of mini-gangsters...I can’t recall another play in which every actor appeared to dread the words about to emerge from his or her mouth, and I can’t say I blame them. The performances under Scott Elliott’s uncharacteristically enervating direction are as halting as the writing is stilted.” Full Review

80
Deadline

“These fevered scenes are performed with mesmeric detail...So much so that we may be seduced into overlooking the sophistication of the enterprise...The long first act flies by swiftly while the second, shorter act, has its longueurs, and the bitter irony of the ending...may be lost on some. That seems, in retrospect, like nitpicking, as Mnouchkine and her astonishing troupe continue to make theater of unsettling immediacy and resonant power.” Full Review

90
Deadline

"A smashing revival...Arden’s exuberant staging conjures a spell that is devastatingly timely yet affectingly timeless...Much of the show’s charm derives from its seamless interweaving of narrative, song, and dance...A confident, swinging cast is blessed with showcase numbers...Kilgore, like this revival itself, is no imitation but a triumph in her own right, striking exactly the right balance between innocence and spirituality, youth and experience. She’s just wonderful." Full Review

90
Deadline

“One of the funniest, and wildest, games of social and sexual one-upsmanship...Every element in Zaks’ production is working at full throttle...Schumer exhibits flawless comic timing in this quartet of master practitioners under the assured direction of Zaks, a funny businessman nonpareil...There’s method in Martin’s madness, which is to set you off-kilter while drawing you into this brief, satisfying lunacy. Resistance is futile.” Full Review

75
Deadline

“Blain-Cruz’s exquisite staging underscores Ziegler’s devotion to a kind of dramatic fair play...Absent stacking of the deck against either Amber or Tom, they emerge as complicated young people determined not to let their ambiguities undermine their conviction about what happened that night. Understanding all that is what gives the terrific actors a dreamlike power in which a gauzy truth gradually and painfully comes into sharp relief.” Full Review

75
Deadline

"The introduction of Danny’s addled mother (played by the wonderful Beth Dixon) and grown son adds unintended bathos. That this is familiar terrain, and Miller can lay it on thick, makes it no less timely, especially on the subject of invisibility as it applies to most female humans over, say, 30.... Miller has the grace to be empathic, something crucially and deeply felt in Emily Mann’s sensitive staging. I’m certain that’s why '20th Century Blues' grew on me, as it did." Full Review

90
Deadline

“A ravishing revival...It’s as ephemeral as the story it tells, and as essential a ray of light as one could hope for today, thanks to a luminous performance by O’Hara and the thrilling staging by director/choreographer Wheeldon...The casting is pitch-perfect across the board...O’Hara is impossibly beautiful, vocally and in conveying Fiona’s romantic determination and heartbreak.” Full Review

45
Deadline

"Couldn’t be more timely...Cho seems more interested in a conventional teacher-with-a-savior-complex melodrama than a serious exploration of the larger issue, and that’s where 'Office Hour' comes up short...Unfortunately, even as played by the very game Kim, Gina is, to put it kindly, a flibbertigibbet with boundary issues who could probably drive Bambi to violence. The inevitable Armageddon seems both tasteless and dramatically unearned." Full Review

55
Deadline

"Nelson sketches absorbing portraits of Papp and the tight circle who ventured with him...'Illyria' continues Nelson’s preoccupation with conversational presentation in which the actors speak sotto voce, forcing us to listen hard...It’s far less effective here...Moreover, the male players in this history, starting with Papp himself, were a volatile lot, something you’d never know from the hushed tones prevailing here...'Illyria' has second act problems. Notably: There isn’t one." Full Review

90
Deadline

"Akhtar's a caster of spells, which is possibly the only way into the gripping tale he tells here...It is searingly human. Akhtar has repeatedly shown a gift for creating individuals free of the kind of stereotyping that has marked so many accounts of the financial corruptions and collapse of the ’80...He refuses to paint in broad strokes...Accordingly, Hughes has staged the play with infinite detail and a kind of exquisite filigree in the way characters are motivated and defined." Full Review

80
Deadline

“'After the Blast' teeters disturbingly on the loomingly intrusive interplay between artificial intelligence and basic human instincts and emotions...Kazan has something bigger in mind and not futuristic at all...Under the keenly sensitive direction of Lila Neugebauer, ‘ After the Blast’ has been given a dream showcase, starting with the cast.” Full Review

55
Deadline

“What can I say about a terrible play that made me laugh? That it’s a waste of talent and hardly worthy of Jason Alexander’s return to the stage?...That it deserves a pass because it’s by John Patrick Shanley?...Did I mention it made me laugh, and that I wouldn’t necessarily admit it except there were witnesses?...The MTC A-team has delivered a great-looking show...Don’t look for deep meaning below the surface. The play is piffle, but you will laugh in spite of yourself.” Full Review

65
Deadline

"'The Siege' is muddled, as both agitprop and drama. That may be a good thing, for as a work of human interest on a canvas of exposed nerves, the play has its compelling moments...The script and the direction are diffuse and undifferentiated, the personalities of each character not so much ill-defined as interchangeable...The play feels seriously underpopulated...I left feeling neither outraged nor radicalized, but only deeply dispirited. I think that’s as it should be." Full Review

40
Deadline

"'Time and the Conways' feels stitched together in a hurry, a costume drama with no coherent point of view and performances so at odds with one another as to screech like chalk on slate. McGovern is the chief victim of this; her shrill performance lacks the conviction necessary to make this monster mom compelling or even much more than a vague annoyance...'Time and the Conways' should be unnerving, but here it’s simply undone." Full Review

85
Deadline

"The play and this production bristle with ideas that bring fresh news to a familiar tale...Director Margot Bordelon’s sensitive staging honors that intimacy in its no-nonsense, fuss-free simplicity and elegance. Most important is the astonishing caliber of the four actors in these roles, each drawn as if by a laser printer, with no small amount of help from a gifted writer who will be amazing to watch as his work grows." Full Review

90
Deadline

"Coon's work in the title role of Amy Herzog’s slow burner of a play, 'Mary Jane'...coils, quietly and almost imperceptibly, to a climax that, like the death of a loved one, strips us to the core, no matter how well-prepared we think we are...Mary Jane threatens to be campaigning for sainthood, but every time she approaches a threshold, playwright and director conspire brilliantly to remind us how forcefully human she is." Full Review

70
Deadline

"The students, portrayed with verve by a transgender cast, all get their big, if predictable, moments to shine. Forgive me if they reminded me too frequently of Mr. Kotter’s Sweathogs, crude and amiably redeemable. 'Charm' is rough-hewn but gives voice to a group we need to hear more from." Full Review