Myron Meisel is a critic with The Hollywood Reporter. 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 "The Assembly has commendably researched thoroughly, and while there is an occasional factual inaccuracy, some missteps could plausibly be regarded as part of the characterizations...'Home/Sick' does run on too long, as the trajectory ineluctably parallels those of addiction stories, in that as motivations collapse, the dramatic arc bends towards stasis. Nevertheless, the extended intermission definitely leavens the downward spiral to disintegration and disillusion." Full Review
for a previous production "This is one of those plays told in real time in which secrets are revealed at well-paced intervals, not for dramatic surprise or narrative manipulation but to provide a means for the audience to share the various perceptions of all the characters as each appalling truth is exposed...In short, an auspicious unveiling of a new text that expands the author's range and should continue to build an afterlife for itself, just as it offers the modest prospect of the same for Ellis and Catherine. " Full Review
for a previous production "Greig writes fluently in rhyming couplets...Though determinedly spoofy, the text also exhibits immense respect and affection for its satiric targets...Wilson’s deceptively unfussy production deftly distracts from the complexity of the show’s many threads, and the game cast appears well-drilled yet up for anything...A persistently entertaining bricolage of themes that only flags in invention in the perhaps overextended climax, notably less inspired than anything in the hours preceding." Full Review
for a previous production "Like any durable masterpiece, 'Happy Days' can feel different over time as the viewer’s perspective on mortality morphs, and everyone owes themselves a renewed encounter with it every twenty years or so. The pride of this production, so attentively directed by Belgrader, resides in the way it revivifies the play’s everlasting relevance." Full Review
for a previous production "At intermission, I was convinced Everything You Touch was well on its way to being the best new play of the year. The second act, however, contents itself with being merely excellent." Full Review