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"Thoughtfully outrageous...Harris is a masterful provocateur...hilarious, exciting, and seriously discomfiting...Nine parts sass and social satire to one part psychological realism. As a white, middle-aged, educated viewer, I’m positioned to see its virtues, if only because I can follow its flurry of cheeky-smart references...Seems to run out of breath in its final act...This psychodrama quickly grows long-winded and schematic...Nevertheless, I’m still dazzled by the panache and vision." Full Review
"It is funny, sharp, moving, and happily avoids the pedestrian...The dialogue is chiseled and rigorous like Beckett’s, the environment ambiguous and claustrophobic...This production does lack the image-punch of the original play, the visual grandeur and complexity of the enigmatic stage picture Fornes conceived. But it credibly captures the moment-to-moment nuance of the funny-sad, touchingly sick tale better than most others I’ve seen, and that’s no small accomplishment." Full Review
"A property this famous and pre-branded doesn’t need critical praise to thrive—that is, as long as it has coherence, theatrical inventiveness, and charm of its own. I felt sure this show had all of that...It is a theatrical achievement of sorts—smart, propulsive, engaging and punctuated with a dozen-plus bouncy new songs...I suppose it’s true that none of this is all that profound. Nevertheless, the validation of intelligence, language, and wonder does have some value." Full Review
"Stone's breathtakingly intense Lorca adaptation...The actors in this production are unforgettably vivid, fearless and honest-particularly Piper as Her, a slow-building thunderstorm...At the same time, the joyless, sterile environment they're in underscores what a thorny problem modernizing Lorca is...At a certain point...The story's plausibility takes a big hit in its rush-rush final section...The play's violent conclusion seems to perpetuate a 'desperate woman' stereotype." Full Review
"A slick, intelligent, splendidly acted discussion drama that’s fun to watch though not entirely believable...It clearly germinated in the shallows of the play’s popular reputation...To Hnath’s credit, all of these are independent, self-aware people who hold their own with pushy Nora...At bottom, Hnath’s characters feel too much like pieces on a polemical gameboard to be wholly credible as people. What keeps their artifice from overwhelming things is the superb acting." Full Review
"Why does this show seem like an extravagant shadow-play produced by the Canadian Tourist Board for an audience of Plato’s cave-dwellers?...It’s really a War-on-Terrorism reprise of Rodney King’s naïve plaint: 'Can’t we all just get along?'...Every tale of a utopian Land of Cockaigne is really the shell of a lie. For one thing, 'Come from Away' offers an escapist spectacle of unacknowledged white privilege...Crowing about it for 100 minutes starts to seem self-congratulatory." Full Review