Karen Ebenezer

Karen Ebenezer is a critic with Off Off Online. 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 (9)
75
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"Krebs’ free-ranging interpretation of Bjørnvig and Blixen’s relationship is a charged, if occasionally uneven, treatment of ambition, love, literature, and pain…This plays out best in moments of intense emotion, where Krebs has wrought some fine dialogue…Their sexual chemistry is surprisingly palpable, and Hegland somehow imbues a sense of will-they-or-won’t-they into the narrative in spite of Blixen’s weltering temper, their age difference and their continual clash of egos." Full Review

80
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"The production rejects the classical interpretation of O’Neill’s trilogy, which has often proved difficult to pull off. But director Herskovits, in his progressively exhilarating realization of 'Electra,' comes close to throwing off the curse...It sinks now and then—5 hours is quite a demand on any audience—but is redeemed by the glories of the plays’ intense psychodrama...Any imbalance in the visual delicacy of O’Neill’s stagecraft is compensated for by sublime acting...Must-watch production." Full Review

85
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"An eloquent tale of justice and ambition…Director Hal Brooks has confirmed the company’s commitment to showcasing incisive, relevant classical theater with Harrower’s masterly take...There is an unending tension between the authority and the reformist in Brooks’s conception. Within this tension is a complexity difficult to explore on stage: the variable nature of truth…A precise, magnetic production of Ibsen’s timely play." Full Review

65
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for a previous production "There is much to admire about the production, including some fine performances...'Crackskull Row' often values dramatic potential over clarity, and while some climactic, intimate scenes are intensely dramatic, others fall into a spasmodic mode of meaningless activity. Save for a few rare scenes of sparkling chemistry, the production threatens to come away at the seams...Yet, the production is redeemed and revived by its flowing, narrative core, and the actors who bring it to life." Full Review

85
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"Bread isn’t the only thing that’s baking in 'Toast'; director Eleanor Rhode imbues nervous energy into a production that proves both raucously entertaining and moving…For all of 'Toast’s' good humor, farce gives way to a darkly spiritual kitchen-sink drama. Rhode’s trump card is Matthew Kelly’s devastatingly haunting portrayal of Nellie, the ever-laboring, broken yes-man." Full Review

80
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"James Kiberd as the patriarch is wonderful...He endows Big Jim with surprising nuance and even sympathy...The positioning of the players at certain points in the play is a master class in stage direction...The ending is a touch too facile; what had been an hour and 45 minutes of carefully layered exposition and a study in familial relationships takes a surprising turn toward sentimentality...This concern notwithstanding, the drama isn’t forced for much of the play." Full Review

90
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"There is much to laugh about in TFANA’s production of Carlo Goldoni’s raucously entertaining farce, and boy, do we laugh. Every formula for comedy is either turned on its head or played to its full predictive hilarity…’The Servant of Two Masters’ stands firmly on Epp’s rollicking intelligence and the comic strengths of the cast. For the jaded theatergoer, TFANA’s production provides all the things the wearied mind desires: longing, love, song, dance and the simple beauty of laughter." Full Review

90
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"The effect is transportive; the assorted delights of fishlike contortionists, aerialists and a hugely entertaining live band, prove just enough to take the audience on a trip well worth remembering...Creator Michel Laprise has redeemed the reputation of his nouveau cirque and provided a magical spectacle...Rest assured, Cirque lovers: the circus of the sun has finally come to town." Full Review

85
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"It is the human tension of the play that rings through McLaughlin’s words and lifts the story into beautiful, complex territories...This adaptation of Euripides’ antebellum narrative, if occasionally flighty, is moving and cinematic in its scope...The plot is held together by the barest of backbones, and for all the characters’ elegies and monologues, there are times when the postwar narrative seems too forced, too distant. But when we are reminded, it is powerful." Full Review