Margaret Gray is a critic with Los Angeles Times. 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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for a previous production "Sometimes the various formats are woven together into a dazzling tour de force...For all its high-tech, cutting-edge flair, the true pleasure of 'The Wholehearted' is of an old-fashioned sort: Holum’s fearless, fierce, vulnerable performance...The script might benefit from more nuance...The play is so eager to show us the irony in Dee’s story, that it overplays its hand at times. But Dee’s tender recollections of Carmen form the beating heart of 'The Wholehearted.'" Full Review
for a previous production "The play itself often feels prepackaged and overwrought... The rising director has met the challenge of Ross’ stylized dialogue with a heightened performance style that borders, at moments, on shtick. It’s very loud...Ross’ characters are drawn with assurance, wit and gentle mockery — we definitely have met these people — but can seem a little glib. The boyfriends, essentially plot mechanisms, don’t require many dimensions." Full Review
for a previous production "You may have seen your share of makeovers, but nothing like the one Sheila Callaghan inflicts on her heroine in “Everything You Touch,” her lushly written dark comedy...a powerful reminder of why beauty, heartless though it may be, holds us in such thrall." Full Review
for a previous production "Such an unexpected puzzle of a show, such an eclectic collection of stories, confessions, illusions and tricks — several truly dumbfounding — that audience members will want to come back...The show, proceeding in unpredictable directions, has a quirky, grab-bag feel that is at once attractive and a bit unsatisfying...DelGaudio announces large and portentous themes but could use some more supporting evidence and a stronger concluding paragraph to tie everything together." Full Review
for a previous production "Her mother has been dead more than 20 years. Hasn’t Orlandersmith, after winning an Obie and being nominated for a Pulitzer Prize, exorcised the demons of her past? No. Neither Orlandersmith nor her director here, Neel Keller, is interested in moving past or making light of pain, or sparing their audience the discomfort of witnessing it. “Forever” derives much of its power from the anger Orlandersmith carries and unflinchingly expresses." Full Review
for a previous production "You might not choose anybody onstage as a role model — but chances are you’ve behaved like one or more of them. The wit in Gottfred’s writing stems from its insight into the less impressive aspects of human nature...But his mordant vision of our bumbling quest for love is somehow cathartic. Imagine Sartre coming of age in the era of sitcoms and Prozac: Yes, Hell is other people—and it's a really funny place." Full Review