Massimo Iacoboni is a critic with Front Row Center. 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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"A capable but somewhat uninspiring cast, from which Patrick Page, however, stands out...Capable but somewhat uninspiring is a description that, regrettably, must be extended to much of the first act of this production...While Ms. Rashad’s Joan of Arc mesmerizes in the superbly staged, climactic scene of her trial, her reticence in fully embracing The Maid’s larger-than-life personality felt somewhat of a missed opportunity for the first half of the play." Full Review
“It is hard to reconcile the company’s former achievements with this work’s rather modest merits...You’ll have a hell of a hard time telling who is who...Again and again our minds are led out of the dramatic continuum...This constant readjustment of perspective interferes with, and practically annihilates, the emotional payoff...By insisting we approach the story with our minds rather than our hearts, Mr. Tucker has short-changed the play, and us, of the magic of the theater.” Full Review
“The original production enjoyed a distinct advantage over the current one...Its shocking denouement sent shivers down the spines of unsuspecting audiences in a way that the current incarnation couldn’t possibly aspire to achieve...While not much is wrong with this production, we couldn’t help but yearn for the magical theatricality of its first version. Not until the final, beautifully acted and very moving scenes, did we feel true, dramatic energy fill the stage.” Full Review
"Seems to have lost much of its vigor in the intervening decades...While the writer’s choice to introduce mildly comedic elements is commendable, this production, directed by the otherwise extremely talented Anne Kauffman, jarringly turns these moments into incongruous variety skits...Unfortunately this production makes such a studied effort to avoid any emotional overindulgence that it turns the play into a rather bland effort." Full Review
"Mr. Conlon’s Koslov doesn’t quite ever succeed in making us feel much real sorrow. His emotive range tends to be professionally efficient, but veers dangerously towards the melodramatic…Mr. Wilkinson, as the director, shares some of the responsibility for this shortcoming. More dauntingly, the action takes place over a broad range of locales...and at a pace much more suited to film or television than to the stage...Jayasundera, however, acquits herself remarkably well." Full Review
“It’s as broad as humor gets, and it makes for rather juvenile comedy. Michael endures it amicably, but he has no choice. The New York theatre public does…Westwood, a former model, brings as much emotional depth to the role as she would to a skin care ad. Not that she is given much to work with…Her character exists only in relation to Michael’s lust…Every possible thread of dramatic coherence unravels…It is hard not to feel anything but contempt for each of these characters.” Full Review
"The entrancing, harrowing two-act play is widely considered one of Beckett’s best...As portrayed by Dianne Wiest, Winnie flaunts a breezy attitude for the entire first act, while uttering lines that tear at one’s heart...It's perhaps part of the genius of Beckett’s art to provide fodder for a seemingly inexhaustible array of arguments, propelling the thinker to dive ever more deeply into her thoughts." Full Review
“Not so much an adaptation as a digest...This production, by dispensing with all the characters that surround Enrico in the original text, becomes more unadulterated tragedy than perhaps originally intended. While there is much to praise in Sisto’s forceful performance, the critique of Enrico’s social milieu is somewhat weakened by the absence of the visitors, whose hypocritical propriety, which Enrico repeatedly mocks, also functioned as a humorous counterpoint to his own, enraged, contempt.” Full Review
"A sci-fi parody of intergalactic conquest...It is comedy as broad as comedy gets, retelling (sort of) the story of 'Tamburlaine' in a wildly over-the-top, nothing-is-sacred style...This slick, strikingly theatrical production is too grand for its own good. The imposing set and the epic musical score are somewhat at odds with the insouciant nature of the script and the willfully amateurish performances of its cast.” Full Review
"Not quite a play, 'Tiny Beautiful Things' could perhaps be best described as the staged version of an advice column...Prose that is often luminous and touching, but that unfortunately cannot always escape the eye roll-inducing, mawkish bits one comes to expect from the Ann Landers of the world…About halfway, both Strayed and Vardalos deliver a riveting piece of theater…It is heart-wrenching, splendidly written and acted, and somehow functions as the emotional climax." Full Review
“An intense ninety minutes, during which the emotional alienation of the characters manages nonetheless to create an absorbing connection with the audience. Each performer embodies their character with such great empathy and skill that by the end we are left with a disquieting sense of dread, as if we soon might learn that something horrible has happened to them." Full Review
"'Down Cleghorn:' The writing is tense, but it doesn’t quite find equivalent emotion in the performances...'Falling Away:' While the writing is taut, the emotional nuances of the text might have been brought forth more effectively by older, more mature actors...'Linus and Murray:' By the middle of the play the dialogue ends up being a touch repetitive...But the performances merit praise...This comedy unexpectedly becomes very poignant...Equally satisfying was 'Disney and Fujikawa.'" Full Review
“How spurned lovers rebound from ill-fated affairs was the theme this year, one handled deftly by some of the writers involved and used as a loose pretext, or downright ignored, by some others. It was hard to see any connection to the evening’s theme in the cryptic ‘Robert and Lucy’…'Antares Returning' is both improbable and clichéd…‘All is Bright’ concluded the series and offered the most nuanced material…It is funny, absurd, sorrowful and touching.” Full Review