Ken Marks (critic)
Ken Marks (critic) is a critic with New Yorker. 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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"Comic timing like you wouldn’t believe. The b-e-s-t." Full Review
"At the Irish Rep, the director, Ciarán O’Reilly, splendidly evokes both the period and the universality of the story, and Cuccioli simmers, sneers, blusters, and bellows in a masterly tragicomic performance." Full Review
"A stirring piece of theatre...Michael Countryman is superb, heading an excellent cast. His Thomas is quiet, kind, witty, fiercely intelligent, and morally, perhaps foolishly, incorruptible. Matters of faith and conscience are a specialty of this company, and Bolt’s eloquent, dramatically paced play examines these issues in a riveting historical context." Full Review
“This ambitious, vibrant new play...has two distinct, contrasting acts. The first is set on a trash-strewn stoop in Bed-Stuy, four months after the shooting of a black teen-ager from the neighborhood by a white cop...The second act imagines the grim future of souls forged in this atmosphere, turning suddenly surreal and impressionistic, like a hellish game show. It’s interesting theatre, but not as affecting as the first act, in which the characters feel like real people." Full Review
“The conflict at the forefront of this 1925 play by Miles Malleson, receiving an excellent production...is a political battle for a seat in Parliament. But Malleson is also exploring friction between classes, lovers, generations, and philosophies, as well as inner conflicts, embodied most tellingly in the character of the aptly named Lady Dare Bellingdon...A masterpiece of tension and exposition. And Malleson is evenhanded in doling out the witticisms.” Full Review
"Barasch is a fine singer and an energetic presence, but the script and the songs are prosaic, the scene transitions are clunky, and the mix of lightheartedness and violence just doesn’t work." Full Review
"In this excellent one-act, in a world première in the small downstairs space at the Irish Rep, the playwright Ciara Ní Chuirc has taken Lovett’s story as an imaginative jumping-off point for a moving examination of love, faith, guilt, remembrance, and regret. With sensitive direction by Olivia Songer and strong performances by a cast of five, Ní Chuirc’s dialogue finds the perfect tone in a series of scenes that shift both in style and in time." Full Review
“This lovely one-man show, written and performed by Felder and directed by Trevor Hay, is set on Christmas Eve, 1988, as the centenarian invites carollers into his Beekman Place house, tells the story of his life, and reveals the sources of his songs. Felder is a good monologuist, but, more important, he’s an exquisite singer and a virtuosic pianist, and his love for Berlin’s music fills the theatre.” Full Review
“The thirty-year-old Irish Rep is particularly well placed to tap into the magic necessary to make a musical soar. That flight begins about fifteen seconds into the director Charlotte Moore’s revival of this 1965 Broadway show, as the chorus launches into a richly harmonic rendition of the title song, and the gorgeous high never really lets up...Lerner brought a contemporary charm to this tale, amplified here by Errico’s musical-comedy mastery.” Full Review