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“’Quicksand’ is an apt name for the ambitious world premiere...It chronicles the story of Helga, a woman of both mixed ancestry and mixed race...Interesting though Helga’s story may be, Koivisto’s production is too long. It’s laden with layers of exposition...Weighed down by...historical, social, cultural, and literary references...There is enough material here for a trilogy...On the other hand, the show is lifted and well-supported by charming interludes...And a versatile 11-actor ensemble.” Full Review
for a previous production “While Saudek refrains from speaking, apart from ‘beep boop’, his body is a splendid storyteller; he is a crackerjack physical performer, displaying traits and business that call to mind other clowns, comedians and cartoon characters...For a wordless script, no finer points could have been put onto paper...Will ‘Beep Boop’ change the world? Not likely. Will it make you laugh out loud and think twice next time you text? Without a doubt.” Full Review
"Cleverly titled for this premise, the play is conceptually profound but lacks depth in its execution, substituting juvenile and superficial humor for any real substance. A series of ballistic ensemble vignettes follow, and they keep the production’s momentum swift...The play’s structure is ambitious, and the production seems to be striving for the characters to achieve more than they are able...The effect of which is that they are stretched out of any real proportion." Full Review
"Walsh’s play strips the term bare of its bright-lights, big-city ballroom connotations, throws a hefty dose of punk into the trunk, then turns off-road onto the aimless side of life. But it does so with deep, dark humor, wide-eyed invention and heaps of passion...Haidar’s production of the play takes several leaps of faith in transporting New York audiences to a time and place which may feel very foreign...The play moves with raging grace...Walsh’s script displays a master wordsmith at work." Full Review
"The mood of the piece is easy if somewhat loaded; the conversations are clipped and swift, touching on but not touching down on anything too deeply or for too long...Theatrically, that is a lot of pressure on the final reveal of these images...It’s no surprise when Danny’s photographs don’t live up to such pressure...Although the fast-paced rhythm might be intentional, it is distracting...A slick, smart script that’s being given an enjoyable ensemble production." Full Review
"‘Ardor’ reflects an impressive literary talent. Gasda has given the actors in his new ensemble drama material that is raw, fresh, honest, poetic, deep, daring and, clearly, a joy to perform…In spite of the power and purpose that drives the first three acts, the play loses momentum in the fourth...At just under three hours 'Ardor' becomes arduous. As a theatrical experience 'Ardor' works, and as an ambitious play produced on a small budget, it works very well." Full Review
“Senior engages the audience from the first beat of ‘Sakina’s Restaurant’....Azgi’s likability is a big part of the success of this play, in which Mandvi also portrays five other characters...His sensitivity and sincerity carry him seamlessly out of one character, into the next...A layer of cultural Indian references also helps infuse the production with exotic flavors, fragrances and humor...With eyes closed, you might not realize that ‘Sakina’s Restaurant’ is a solo performance.” Full Review
"A somewhat convoluted and ultimately contrived attempt to tackle the psychological complexities of creating art...While Zuckerman's production is visually and aurally rich, the whole is not greater than the sum of its parts...Ginn's self-conscious portrayal of a starving artist is not entirely credible...Too many irons in the fire...None of which gets hot enough for the story to really blaze...Action jumps rapidly...the audience is left confused...The set and score are the production's best ... Full Review
"Interestingly, this protracted struggle, focusing the action almost entirely on the matter of finding a better way to end the play, slows the play down in a good way. It allows for the audience’s total immersion into the time and place, the emotions, intentions, and motivations...Slow and steady is visibly, audibly, and viscerally apparent in the creative interpretation...The production works on many levels...A labor of creative love." Full Review
“Whether the potential for highs and lows are neutered intentionally because the production is based on dry documentary evidence is uncertain, but the drama is delivered and received with limited emotional range. The slideshow of actual footage throughout the production is powerful punctuation...It can feel like an imposition of political persuasion, and might not be for everyone...'De Novo' would benefit from a wider reach and, perhaps, some agitation." Full Review
"The theatrical lovefest dishes out more than sweet nothings. Indeed, this playwright’s first full-length production serves up handfuls of hearty truths. As humorous and poignant in the ensemble scenes as it is painfully honest in its pensive asides by each character in turn, this new work by a young playwright navigates the light and the dark sides of that crazy thing called love with impressive depth...Kudos to the cast for elevating McLachlan's script even further." Full Review