Lucy Komisar is a critic with New York Theatre Wire. 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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"This smart musical revue tells the changing attitudes of and toward women over a century with the lyrics of popular songs...The musical moves through 60 songs to tell the story of women as ink blots of American culture...A terrific if sometimes depressing measure of what pop music has said about, how it has indoctrinated, American women in the past 100 years. There couldn’t be a better moment for this show." Full Review
"Drawing on the crises of the Middle East, London playwright Henry Naylor has produced two powerful, insightful plays about women who struggle to defeat the machismo that incites Islamic militants...Rehana is portrayed by Avital Lvova in a bravura solo performance in which she plays numerous roles...The direction by Cabot and Butler transports you, in these important plays, to the terrifying places the women inhabit." Full Review
"This play is often hokey and not very satisfying. The best parts are terrific production numbers about real events...They could have been an exciting focus. Instead, we see what eventually becomes the tedious story of the desperate prostitute dancers and the clean GI...This show could have been an important political moment. But, unfortunately, when politics meets soap opera, soap opera wins. The show now seems sentimental, dated." Full Review
“A powerful and intense play...Houlbrooke and Braganca are excellent in displaying the young women’s growing awareness of what they have bought into, with their hope and calm turning into anger and rebellion. Under the cinematic direction of Naylor and Emma Buttler, they persuade the audience that the subjects and the actors of their monologues really exist, move, react.” Full Review
"Aaron Loeb's engrossing, bizarre, dark play...The ensemble of actors is excellent, utterly believable, they inhabit their souls, in some cases very damaged souls. All of them appear willing to sell out whatever souls they ever had. Director Josh Costello leaves no doubt that the events that transpire could be true...Aaron Loeb establishes perfectly the moral conundrum." Full Review
"A hokey funny spoof of film noir, the mood set by 1940s music, this play by the inventive Stolen Chair company mines every verbal and physical cliché in the book. And the ensemble do a superb job in bringing to life the characters, one of which is soon to be dead." Full Review
for a previous production "In case anyone wondered if these terrific clowns are still as good, stop worrying. They are non pareil. (There’s nobody like them.) They still display the body jokes, the loose physical movements and juggler style tricks that they are known for...But the skits are not just physical, they are social and political, all staged with finesse by director Tina Landau...They may be 'old hat, but this terrific production is very very new!" Full Review
"This enactment may be one of the best of the plays inspired (or provoked) by the election and presidency of Donald Trump...This play is worth seeing for Thompson and Marvel, among the great stage actors of the moment...Quite a stretch to say it’s about people protesting against Donald Trump. But it makes a lively play!...Eustis’s take on this 16th-century play deserves a life beyond the Delacorte." Full Review
"It’s a great production. But think of it as guys’ take on women...In this story of two exceptional women, everything seems to revolve around men...Ebersole and Lupone are both fine performers and singers. Scott Frankel’s music by is pleasing if not memorable. The story certainly kept my attention. And director Michael Greif can put on a show. But, somehow, with the mix of what is true and maybe invented, I never got a sense I really knew Rubenstein and Arden." Full Review
"Macabre and whimsical, dark and comic at the same time, a clever satiric pen pointed at self-absorbed aristocrats of the early 1900s, Katherine Rundell’s 'Life According to Saki' is a delicious evening of theater...The production’s cast, with an appealing David Paisly as Saki, are a perfect ensemble where the actors move as if they are choreographed...The production features a bit of vaudeville, a lot of the shaggy dog mixed with ghost story, the fanciful alongside the absurd." Full Review
"George Bernard Shaw’s first play, given a first-rate performance by The Actors Company Theatre directed by David Staller, establishes the theme of personal morality vs business corruption that would be a signature of his works through the years...Does this play written more than a hundred years ago seem very current? Director Staller makes it seem as if it could happen today." Full Review
"Callander keeps the pace fast, partly comic, mostly serious, with a strong tinge of outrage...This is Michael Moore on steroids...A lot of the play - a bit too much for outsiders - involves Thomas discussing with fellow campaigners their reactions to what Martin had done...Political theater has always been among the best theater, telling stories of the issues raised by political campaigners and activists. But in this case, stirring political theater is activism itself." Full Review
"A prisoner's account of what goes on in New York City's holding pen for arrested men is unexpectedly and often hilariously funny...This is tough stand-up comedy, as good as any solo performance can get." Full Review