Kev Berry is a critic with Exeunt Magazine. 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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“Walsh pulls it off, he pulls it way off...Walsh has taken Porter’s gorgeous postmodern text and deftly conjured something wonderful...Walsh’s direction is stunning...Murphy is a master at work...‘Grief Is the Thing with Feathers’ hit so many raw nerves with such precision in its translation from page to stage that I can’t help but feel it will remain one of the most important nights I’ve spent in a theatre for a long, long time.” Full Review
"If this sounds like a lot to take in, it is, and not because it’s difficult to follow. Awoye Timpo’s clear, if stagnant, direction makes the story mostly easy to follow, despite a lack of variance in her staging...What makes Anyanwu’s play so frustrating is the amount of ground she is attempting to cover in 90 minutes...Since there’s so much to squeeze in to such a limited time, the audience never gets to see these ideas pushed as far as they could go in a more focused text." Full Review
"The physical staging...is seamless, and the emotional performances are deeply specific to each character. The cast brings these familiar characters to life in a way that does not shun what we know of them in the zeitgeist, but rather brings something new...Structurally it is a strange balance of short cinematic scenes brimming over with tepid, often predictable dialogue and the absolutely beautiful movement-heavy transition sequences. A textually weak play." Full Review
"Fucking hilarious...Hiller is a star. His collaboration with Urie has resulted in a nuanced and hilarious performance, one where the audience immediately trusts Hiller to take us on a ride with him. His performance is so crystal-clear that even when the writing falters, as it gets serious...we’re still hooked because we’re waiting for his next wisecrack to shut the house down. Urie and Hiller have created extremely clear focal points for each of the other on-stage characters." Full Review
"Cloyingly earnest...The actors do what they can with an uneven script that relies on pandering to the upper-class white Playwrights Horizons audience, using tropes and a checklist of platitudes...Because the play never specifies where exactly these Muslim families find the origins of their conflict, the play lies in an uncomfortable plane of existence that some will find profoundly universal and that others will find straight-up grating." Full Review
"The most profound experience I’ve had, and will surely remain the experience to which I aspire as an artist and human for the rest of my life...A standing ovation so immediate and so deserved the lights aren’t even completely out in the final blackout before the audience is on its feet screaming and banging the chairs on the floor because simply clapping is an inadequate showcase of our appreciation to Taylor for having made it through this beast of a show...I am irreparably changed." Full Review
"As a child to a lost parent, who dealt with countless other losses between the ages of seven and seventeen, and as someone whose artistic life has in large part been devoted to explorations of extended grief, I have to ask, 'What the fuck?' This show made me angry. Really, truly, madly, deeply. Furiously. While I understand the impulse to make a show where you finally get to say those lifelong unsaids that you never got to scream, I see so much more strength in letting sleeping dogs lie." Full Review
“Deliciously energetic and mostly very funny...And here’s where we find the evening’s major snag. The part of the roller coaster where you go, well, this is uncomfortable and I’d maybe like to get off, please...A series of uncomfortable one-liners about trans bodies pre- and post-op that are clearly meant to highlight the ignorance of the characters. After a certain number of jokes, we get it...The jokes begin to feel tasteless...Performances are across the board stellar...But those jokes, man.” Full Review
"Mortal Tackiness, wherein the experience of the show is such an imprisonment that you begin to develop symptoms of Stockholm Syndrome...Even if you temporarily find yourself swept up in the moment, at the end of the show when thousands of inflatable beach balls drop from the ceiling, you discover yourself wide awake but completely exhausted, having endured something completely and unforgivably bland...The buffet of Buffett music never succeeds in musical form." Full Review
“A perplexing and deeply problematic play…The play’s insipid and exposition-heavy dialogue, which creates scenes that build to anti-climax after anti-climax, proved incredibly distracting. Four of the five performances are hidden behind constant gestures…The playwright relentlessly pushes his bigotry so far over the line that I began to shut down...There is one saving grace: De Jesus as Wink...His youthful honesty injects the play with the heartfelt truth the play desperately wants to project.” Full Review
for a previous production "The delightfully entertaining farce is easily the funniest play I’ve ever seen. At times, I was crying laughing so hard...The ensemble is wonderful. They shed their egos and fully throw themselves into the often violent and never-ending intense physical comedy with masterful fervor...I spent the entire evening in the strange, beautiful no-man’s-land between giggling and full, open-throated, guttural, screaming laughter." Full Review
"A hilarious and ultimately very moving play…Backhaus’s writing is gorgeous. Perfectly paced jokes, melancholy and hopeful monologues, and vividly conjured characters run amok to create a thrilling portrait of this group of men…Davis’s direction and staging are, to put it plainly, flawless…Without water, Davis is freed from a literal reading of the play, and as such, takes his audiences on a delirious, whiskey-fueled trip across the Wild West." Full Review