Kathryn Yu

Kathryn Yu is a critic with No Proscenium. 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 (8)
The Mortality Machine
Lower E Side
No Proscenium

“Sinking Ship Creations’ ambitious new experience never quite gets going...The production as a whole seemed incomplete...’The Mortality Machine’s’ plot felt like the great first half of an unfinished play...Given what the show is asking audiences to do — solve puzzles, play characters, investigate a crime, and sometimes even do improvised dance — the payoffs need to be worth each participant’s emotional and time commitment. Otherwise, it’s just a quest with no grail.” Full Review

No Proscenium

“The bizarre, wonderful world of Lispector brought to life...The performances are no holds barred and the strength of Lispector’s prose really shines...The setup of the space also means that multiple characters and scenes are always colliding in a beautiful sort of chaos. That said, 'Inside the Wild Heart' can be a challenging show...Lispector’s eccentric, stream-of-conscious style lends itself well to an immersive adaptation." Full Review

The Hidden Ones
Midtown W
No Proscenium

for a previous production "The remarkable thing about 'The Hidden Ones' is both simple in concept and in perfect fitting with the story: all the exposition is done silently...The lack of dialogue is startlingly effective and a direction which feels fresh and new: a linear narrative which doesn’t rely upon dance for communication...The ensemble cast of 'The Hidden Ones' works hard to create a deep, meaningful connection with each audience member through silent one-on-ones, and it really, really works." Full Review

Beloved/Departed
Upper W Side
No Proscenium

“Ten energetic performers and a string quartet bring to life a bevy of Greek gods and goddesses...Students of immersive theatre will delight in observing the gods interact: hopeful glances, a steely eyed stare, a quiet scoff. A careful eye will note just how much is being communicated about each god-to-god relationship during these quiet moments...’Beloved/Departed’ is what happens when love is not enough...An exploration of what it means...to be human.” Full Review

Consumption
East Village
No Proscenium

“The writing in ‘Consumption’ is smart...even if some of the lines can come off as a bit too self-aware...Our role as an audience keeps shifting...The linkages between the five couples are tenuous and narratively, the payoffs are uneven as each of the five stories comes to a conclusion. But the performances more than make up for it, as do the many moments of surprise and delight...Even if the pieces don’t all quite fit together in ‘Consumption,’ it’s still a heck of a ride." Full Review

No Proscenium

"Plunges audiences into a stylish Jazz Age-era world of magic and mystery...Every character seems to be straight out of an old timey movie...I found it difficult to invest in Houdini as a character...I wished for more suspense and higher stakes built into the narrative as it unfolded, leading to a stronger payoff...Luckily for all of us, Daily’s performance is compelling enough to propel the piece forward.” Full Review

No Proscenium

"The trial is long and grueling; it is here where the ambition of 'The Bloody Deed of 1857' falters...And after one too many shocking revelations, I longed for a space to stop and reflect, or simply catch my breath and take a break...However, in this intimate, up-close setting, there is also a certain magic in seeing theatre tricks executed seamlessly...The toolkit of many an off-off-Broadway production is used to great effect here." Full Review

No Proscenium

"The captivating Kobayashi happens also to be a time traveler and shapeshifter, who literally plays the part of every person who touches the Newburge family’s narrative, however briefly...The experience is surreal and feels completely original...These typical, ordinary lives of the Newburge family feel extraordinarily real. Because it’s 1952 again and we are all piled inside in a cozy little house in Windmere, a place brightly lit and filled with love and warmth and music and cake." Full Review