Johnny Oleksinski

Johnny Oleksinski is a critic with New York Post. 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 (11)
New York Post

"If we say his name three times, will he go away? I’m not talking about the title character of 'Beetlejuice,' but Eddie Perfect. Fresh off his heinous music for 'King Kong,' the Australian composer’s dismal soft-rock score fuels one of the worst Broadway musicals in years...Indeed, if the actors took their scripts, threw them into the air, picked up the pages and performed them in their new order, Act 2 would be about the same." Full Review

Tootsie (NYC)
Midtown W
New York Post

“Even with a score by...Yazbek, ‘Tootsie’ doesn’t feel so much like a razzmatazz musical as it does a sitcom in its prime...it’s practically ‘Seinfeld: Live!’ With killer jokes to match...That farcical setup — and Horn’s extraordinary new book, which is even funnier than the movie — delivers the finest collection of character actors onstage...While Yazbek’s jazzy score doesn’t reach the heights of his work in ‘The Band’s Visit’, there are a few really terrific numbers...You will leave laughing." Full Review

New York Post

"Everything you cherish about this classic has been taken out behind the barn and shot, replaced by an auteur’s bag of tricks and a thesis on gun control and westward expansion...No scene seems any different from the next, and the whole thing is a mostly joyless chore...Agnes De Mille’s famous Dream Ballet has been ditched for an overlong, gymnastics floor exercise...Fish clearly is saying he’s not a great fan of the culture of the Great Plains — of yesteryear or yesterday." Full Review

New York Post

"Borderline incoherent. It turns a complex woman’s life into a hagiography, a slide show of events minus context or emotion...You’d think the songs would redeem this show...But some of the tunes here — including a rendition of 'No More Tears' Summer belts out while being beaten by her German ex — are hard to enjoy. Des McAnuff, who gives us more ups and downs than a heart monitor, directed this mess...He seems to have Scotch-taped together some wonky ideas." Full Review

New York Post

"'Frozen' is not a very good show...The once lovely story has become visually drab, mechanical and often boring. Cold, if you like...It’s mighty difficult for Elsa to connect with anybody when, for much of the show, she is alone in a faraway ice palace. Separated, the sisters’ relationship becomes murky...Even so, the two stars of the show manage to frequently rise above the production’s avalanche of limitations...What 'Frozen' desperately needs is a bomb cyclone of heart." Full Review

The Encounter
Midtown W
New York Post

"The one-man show 'The Encounter' is a public podcast, complete with high-quality headphones for every theatergoer and enough yawns for an anesthesia symposium...Simon McBurney is no entertainer. He’s a peddler of pretentious, self-satisfied wisdom and overhyped novelty...This intermissionless, nearly two-hour snoozefest has a massively self-generated sense of what it is." Full Review

Ink
Midtown W
New York Post

“Unlike the Guardian, the Sun is fun...And so is the exciting new play about it...Nothing about Graham’s unexpectedly seductive play is ever less than rousing. The show is hoisted even higher by...Goold, doing his best work...by mixing in music and dance for a raging party vibe...Embodying that uproarious spirit is Carvel, who makes Murdoch into a magnetic, eccentric Confucius of the news business. Just as good is Miller...’Ink’ is way more than just a bit of fun.” Full Review

New York Post

“For a show about hell, ‘Hadestown’ doesn’t have much heat...This classic tale of love — he looks back, she gets trapped in the underworld for all eternity — is still too slick and sterile for us to give a damn about her damnation...The sluggish musical mostly honors the framework of the ancient Greek tragedy...On the whole, Mitchell’s sung-through bluesy score is quite beautiful, if a better fit for a Starbucks than a Broadway theater.” Full Review

New York Post

"It’s an idea that’s so crazy, it just might work! It doesn’t. This indulgent show is wackier than it is fun, and elicits more 'huh?' than 'ha.' Worse, it treats the catchy pop music like a side of spinach...The uppity chitchat is the musical’s main gag, and it’s extremely tedious. You’ll wish their lips were sealed...These songs are a bad fit for theatrical storytelling. They begin at one place, plant their feet and stay there, both musically and lyrically." Full Review

New York Post

"Broadway’s never seen anything quite like it...'Cursed Child' is very much a play, and a captivating one at that...It best succeeds as a drama about a father and son trying so hard to communicate but not hearing each other...The clunky dialogue could have used some transfiguration, because Tennessee Williams, this isn’t...But nobody turns to 'Harry Potter' for Oscar Wildean wit. If you’re after escape, laughter, and a good cry, 'Cursed Child' delivers. It also boasts some strong performers." Full Review

New York Post

"Our long national downer is over. 'Oh, Hello' has finally put an end to entertainment’s interminable War on Fun. The smart, 95-minute two-hander created by and starring comedians Nick Kroll and John Mulaney dares to be hilarious, without a nanosecond of deeper meaning...Directed with chutzpah by Alex Timbers, the show — which, at 95 minutes, is a bit too much of a good thing — is completely un-PC, infectiously energetic and packed with winning zingers." Full Review