Lisa Huberman

Lisa Huberman is a critic with New York Theatre Review. 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 (21)
The Chinese Lady
Midtown W
New York Theatre Review

“Thrilling, hilarious, and vibrant...Suh Moy's story provides the perfect springboard to explore the history of the Chinese in America and the ways in which we have not come nearly as far as we think...Suh’s play is wildly funny as he gleefully lampoons the fetishization that Moy is subjected to...A sumptuous, meticulously crafted production that sings with beauty and pierces with incisive wit...Tyo gives master-class performance as Moy.” Full Review

Pomegrenade
West Village
New York Theatre Review

“As Hermes, Galanes helps set the soulful, sorrowful mood with her haunting vocals. Composer and vocal director Emily Krause’s haunting minor chords underscore the sense of loneliness and trauma that runs through the play...Xia and her team most powerfully capture this sense of disorientation and terror at a visceral level, of people trying to hold themselves together as the gods literally pull the strands of their lives apart.” Full Review

Ducklings
Brooklyn
New York Theatre Review

"I wanted to see Amina Henry’s work because I heard she was amazing. And by God, ‘Ducklings’ delivered…Henry’s script sketches their lives in hilariously tragic detail…Director Christopher Burris has a ton of fun with the circumstances Henry has provided, and the actors fully commit to the wacky ride. There is a frenetic, giddy, energy to the staging, and choreographer Joya Powell manages to make every woman’s movement incredibly distinct and revealing.” Full Review

Raisin
Queens
BOAST: Best of Astoria

“APAC’s deeply felt, soulful revival of ‘Raisin’ left me warmed and transported…Sometimes a big score will overwhelm and drown out the stillness and subtlety of such a story. Happily, APAC’s production maintains the delicacy—expanding the emotional reach of the world just enough…In a story of people with difficult lives, the jazz-inflected score injects a measure of joy and transcendence…‘Raisin’ is sure to be a welcome balm to sooth, comfort, and uplift.” Full Review

That True Phoenix
Soho/Tribeca
New York Theatre Review

"For a while, it seemed like Kelley’s 'That True Phoenix' would be simply a delightful, freewheeling 18th-century romp...And yet about halfway through the first act, we discover Kelley and director Diercksen are up to something a lot more interesting. Da Ponte is not exactly who he has been telling us...In addition to maintaining a sense of unity among the many design and storytelling elements, Diercksen also draws stellar, energetic, and acrobatic performances out of all of his actors." Full Review

New York Theatre Review

"A rollicking, gender-bending romp...Becky Byers is witty, impish, and charming, equal parts Rosalind and Cyrano de Bergerac...Director Kelly O’Donnell infuses every ounce of the production with joyful mischief. Rocìo Mendez’s stage combat is brimming with Looney Tunes-esque whimsy...A swashbuckling story of what it takes to make change, and the networks and chosen families that keep that revolutionary spirit alive." Full Review

[PORTO]
Upper W Side
New York Theatre Review

for a previous production "A thoughtful and often surrealistic meditation on the contradictions and hypocrisies of contemporary urban life…Benson and her director Lee Sunday Evans gently and not so gently lampoon the milieu in which the play lives…The play is universally well acted…Issues frustrated me, but it’s a testament to Benson and Evans’ engrossing work that I felt so invested with getting to the bottom of my own feelings about what they had presented...This is a compelling work that deserves to be pondered." Full Review

Anais Nin Goes to Hell
East Village
New York Theatre Review

"A moving, existential comedy of female power and heartbreak...Stallings and director Antonio Minino wisely keep the production grounded in emotional reality and well of sadness that lies in all of the characters’ hearts. The play is wildly funny to be sure...I appreciated the honesty with which Stallings confronts how difficult it is as women to hold our own power. Sometimes we need someone else to push us to awaken those new feelings and horizons in ourselves." Full Review

New York Theatre Review

"If the plot doesn’t necessarily break much new narrative ground, the puppetry provides an added measure of whimsy...Part of me wishes the show had laid a bit harder into the self-aware meta humor that occasionally surfaces when characters remark on the fact that there are only two permanent sets and wonder why anyone would be interested in a puppet show...Like a late-night piece of cheesecake, 'That Golden Girls Show!' provides a loving reunion with old friends." Full Review

New York Theatre Review

“The energetic young cast draws you in from the start...No immersive evening can work without a seamless integration of production and design, and this show’s creative elements work harmoniously to move the audience through the world of the play...Though the play is titled ‘The Death of a Black Man’, it is the play’s young women that are the real soul of the production, alternately, profane, witty, brazen and charming.” Full Review

The Other Mozart
Greenwich V
New York Theatre Review

for a previous production “Nannerl prances, swan-like across the stage like a music box figurine sprung to life. As she gleefully, defiantly, tramples over the garment’s layers, she is also haunted by the architectural wooden corset at its center, which threatens both her physical movement and her professional ambitions...In Milo’s captivating script, interwoven with diary entries letters from her father and brother Amadeus, Nannerl is a creature of gamine charm, grace and fortitude." Full Review

Almelem
Brooklyn
New York Theatre Review

"Hilarious, queer and deeply-felt new play...The performers are able to develop a playful intimacy with each other that is rare for a six-week rehearsal process. It is this ease that allows the company members to slide in and out of different roles...One of the most tragic parts of watching 'Almelem' is knowing that the contributions of figures like these fabulously flawed humans will be flattened and fade into the background of history as the biblical cannon is assembled." Full Review

(Not) Water
Financial
New York Theatre Review

"The production is a lot more fun of a ride once it stops questioning itself and embraces its weirdness. In probably my favorite moment, a mop is propped upside down next to a microphone and sings a torch song...When '(Not) Water' finally drops in and commits, it is poignant, transporting and sly. This is thanks not only to the extremely game performers, but the gorgeous sensory work by lighting designer Samuels, video designer Einbinder and the sound design team of Broken Chord." Full Review

Daughters of the Mock
East Village
New York Theatre Review

"A powerful drama...It’s horrifying, high-concept stuff that recalls Greek tragedy, but for the most part director Denise Yvonne Dowse and her actors keep the play grounded in the women’s emotional reality and maternal bonds...Edith Jason powerfully embodies Mau Mau’s dual natures as doddering hippie grandma and primordial goddess of the bayou...The four women make a powerful quartet...I feel like the production could have benefited from a more intimate setting." Full Review

World Builders
Upper W Side
New York Theatre Review

“An empathetic, whimsical portrait of two people finding comfort in each other’s fantastic delusions...There is a warmth and fluidity to the physical life of the show…Adams’s script has a lot of fun fleshing out the fantastic details of Whitney’s world…But the script really drops in when Max finally opens up about his...Is it possible—or even moral—to try and avoid facing pain? Whatever one decides, 'World Builders' is a call for empathy for those engaged in the struggle.” Full Review

Pool Play 2.0
Gramercy
New York Theatre Review

“An evening that is by turns daffy, thought-provoking, and splashing good fun…Mee extracts absolutely giddy, exuberant performances out of all of her actors. This is particularly true with Trinity Bobo...She is a veritable one-woman Busby Berkeley number as she swims in between vignettes to epically bombastic classical music…Each of these tantalizing interludes could be expanded into a satisfying theatrical experience in and of itself.” Full Review

Orange Julius
West Village
New York Theatre Review

“Moving and often heartbreaking…As Nut, Jess Barbagallo is extremely winning…It’s the Vietnam scenes where the show and the script get a bit unfocused...These scenes, while artfully executed, eventually felt a bit repetitive and lacked the emotional weight of the family drama…While elements of this production don’t always fully cohere, Kreimendahl has created a vital, important work that finds quietly revolutionary ways to smash expectations to explore gender in the theatre." Full Review

Evensong
Queens
BOAST: Best of Astoria

"The raw yet tender drama of homelessness in New York City, brought to vivid life...All of this could have the potential to descend into melodrama, but Quinana’s script and David Mendizábal’s direction zero in on the ferocity of the characters’ pain while never sentimentalizing it...The holy setting is further realized by Jacob Subotnick’s soundscape and Julián Mesri’s original music, which keep the production moving and allow for moments that are beautifully transporting." Full Review

The Maids (INTAR)
Midtown W
New York Theatre Review

"There is a delirious, giddy, physical life to the show. Even when the plot or relationships between characters are not exactly clear, the spirited performers give us captivating imagery to drink up...There’s a fatalism to all of this whimsy...While the maids and Puerto Rico itself may struggle to find autonomy and actualization, Rivera ensures that their humanity will not be quashed without a fight." Full Review

New York Theatre Review

"As Finley’s giddy triptych unfolds, she illuminates the power of counterfactual thinking in both fairy tale realms and national politics...Finley possesses a wacky sense of style and a go-for-broke physicality, but her real weapon is her voice, with which she luxuriates over the syllables of her text...It may not be possible to fully comprehend or contain the worlds Finley conjures. But it’s that space for feeling, whether it be fearful, joyous, or raging, that creates a space for catharsis." Full Review

New York Theatre Review

"Like the awkward adolescents at its center, the script sometimes struggles when attempting to tackle large emotional beats. Thematic ideas fall like anvils, weighing down the action and stretching out the running time to two hours...The rapport between Phoebus and Miskell ultimately grounds the play. The actors have an easy, intimate chemistry...It’s hard not to be moved by the tragedy of these drowning teens clinging to each other, unable to keep from dragging themselves further down." Full Review