Matthew J. Palm

Matthew J. Palm is a critic with Orlando Sentinel. 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 (10)
Luzia
Queens
Orlando Sentinel

for a previous production "A more concrete motif than many a Cirque show, but that doesn’t hinder the artistic imagination...The finale fiesta doesn’t quite live up to what came before. But it’s hard to compete with acts as engrossing and lovable as Evgeny Vasilenko’s slack wire, presented as a hopeful man trying to make a good impression on his date. Rolling, balancing, suspending himself on the ever-bending wire Vasilenko is utterly charming as his act conveys the giddiness, nervousness and risks of first love." Full Review

Orlando Sentinel

for a previous production "Has clever staging and laser-sharp tech, but to my way of thinking, it misses out on key elements that make James and Jamesy endearing. Most notably, the friendship factor of the duo’s previous outings is missing...'In the Dark' is a show without warmth. Also missing is an ebb and flow of tone and volume. 'In the Dark' starts loud and stays loud..James and Jamesey still have charm in their tricks...And it has to be said that a large part of the audience found this show hysterical." Full Review

A Solo From The Pit
Soho/Tribeca
Orlando Sentinel

for a previous production “Delightfully entertaining...Faingersh is a virtuoso trombonist...In his very funny one-man show, the musician uses story lines and music from familiar operas...to recall his life, face his fears and explain his choices...The joy of this production is that it introduces you to a new world, it lets you experience someone else’s passion, it surprises you, it just might teach you something about yourself. Oh, and it’s a little weird, too.” Full Review

Edgar Allan
Soho/Tribeca
Orlando Sentinel

for a previous production “A devilishly delightful show…Despite all the dark shadows, ‘Edgar Allan’ has a pleasing lightness -- frequent laughs add shading to the gloom, and musical interludes add spice to this tasty brew. Hartman plays the ukelele in an inspired touch, and has a lovely singing voice. Young Edgar fancies himself ‘remarkable.’ This atmospheric, highly entertaining show is exactly that." Full Review

6 Guitars
Soho/Tribeca
Orlando Sentinel

for a previous production “In Padgett's hands, a simple concept becomes a masterpiece just as much as Beethoven's ‘Ninth’…It's fascinating to watch Padgett switch from one character to another—sometimes lightning fast…It's a master class in creating sharply etched and immediately memorable characters…And, of course, there's his musicianship...Padgett displays both impressive technical and emotional chops…Experiencing this towering tour-de-force is a thrill for the heart, the funny bone—and the soul.” Full Review

Orlando Sentinel

for a previous production "The joy of watching him perform is how he fearlessly plows through the words, jumping here and there...It’s an exhilarating journey as he detours through stories about high dives or being caught in an undertow. The main thrust of his story involves ordinary experiences and observations...It’s how he tells of this youthful exploit that keeps you hooked." Full Review

Orlando Sentinel

for a previous production “A dandy little ghost story. Strickland and MacDonald, Fringe vets and ace storytellers, use song, puppetry and light — such clever use of light — to set the creepy mood...The opening sequence that lays out the story doesn’t have quite the right tone...But stick with this, and let the fear grow as the dreams go by...There was not a peep during this spellbinding performance — even when all the lights went out.” Full Review

Orlando Sentinel

for a previous production “To play a woman that fabulous requires one mesmerizing performer. In Tymisha Harris, the engaging, involving ‘Josephine’ has just that…She’s an expressive dancer and a strong, emotional singer...Her greatest strength is her ability to convey the mix of nervousness and fearlessness that fueled Baker’s life…The cabaret concept is one of the show’s strongest elements…Kimbro’s script is a fully realized story, though I would have liked a few more concrete details added to the mix.” Full Review

Inescapable
Soho/Tribeca
Orlando Sentinel

for a previous production "Paterson joins Dockery in this tale of a holiday party gone awry, and his focused yet natural acting style meshes impeccably with Dockery’s amped-up energy. In the story, Dockery’s unnamed host finds an old pal looking at a mysterious box...Quesnelle’s direction let us see this mysterious box that isn’t there. And although the physical action doesn’t pick up much, in Dockery’s usual style as the words fly faster, and more bits of the puzzle are revealed, the tension increases.” Full Review

Orlando Sentinel

"The main problem with 'Recollection of Innocence': It feels as though there's a hole at the center of the story. Kapulnik shows us fragments of his life, moments he recalls his innocence slipping away — but their arrangement doesn't always build a dramatically coherent picture. Sandra Glinka and Jonathan Iglesias offer support as various characters, but their relationship to Kapulnik isn't always clear enough." Full Review