John Del Signore is a critic with Gothamist. 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.
If you are this critic, please see the instructions on how to add reviews, update your profile, or make changes to your excerpts and scores.
"It's all very funny and bracing, because Birbiglia is a nuanced storyteller with a gift for teasing out the absurdity of contemporary American life, as well as sending up his own anxieties and neuroses...'The New One' is grounded in an intimate emotional honesty. That's not to say the show is a downer; it hums along on the strength of Birbiglia's warm-hearted wit...Just try to score a ticket. 'The New One' may be his best one yet." Full Review
for a previous production "Two thirds of Hand to God is deliriously madcap comedy, deriving its dramatic momentum from a foundation of raw, sentimental heartache that comprises the other third. Askins proves himself a master of pathos here, and he's well-served by an adept cast under the direction of Moritz von Stuelpnagel." Full Review
"Anyone whose younger self ever fantasized about tumbling down the rabbithole into Lewis Carroll's Wonderland will want to hop the L to Williamsburg, where an enthralling theatrical spell is being woven. Like the Wonderland discovered by Alice, the world created by Third Rail Projects is as unsettling as it is enchanting." Full Review
"'While Thank God For Jokes' lacks the cohesive, narrative depth that sustained Birbiglia's previous one-man shows, it is uproariously funny, marvelously absurd, and intellectually satisfying. The central premise—of comedy's consequences in an interconnected world—is a sturdy hook on which Birbiglia hangs his whimsical array of hilarious stories, and by the end my face was sore from laughing." Full Review
for a previous production "The dreary atmosphere that permeates life at 'The Flick' is recreated with militant realism; it rolls out over the real-life audience like a fog that starts to feel a little oppressive. It could be that, as Wallace Shawn once put it, I've 'always really been a lowbrow at heart,' but after a while I started hoping the workers would finish up so I could watch a movie." Full Review
for a previous production "The text is daunting, and the two and a half hour long piece remains largely hermetic. While some of the evening works as a sort of performance poem, the insistence on speaking every ‘he said’ and ‘she said’ comes off as a repetitive affectation...Faulkner’s difficult prose obscures their take off. On the other hand, my companion was swept away, and if you haven’t seen ERS before, it’s definitely worth your time, at the very least to discover their admirably adventurous aesthetic." Full Review