Patricia Contino

Patricia Contino is a critic with The Upcoming (UK). 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.

If you are this critic, please see the instructions on how to add reviews, update your profile, or make changes to your excerpts and scores.

Reviews (23)
The Cradle Will Rock
East Village
StageBiz.com

"A great musical whose messages still resonate...Blitzstein's ideas and sound work convincingly well together...John Doyle avoids the excess messaging that marred 'The Resistible Rise of Arturo Ui' earlier this season...The director’s signature actor-singer as musician fits this show perfectly." Full Review

Medusa Volution
Brooklyn
StageBiz.com

"If you liked Madeline Miller’s bestseller 'Circe,' you should really catch the last four performances of Sophie Amieva and Suzanne Bagert’s 'Medusa Volution' at happylucky no.1. Just as Miller allows the nymph to describe in her own words her special skill set (turning men into pigs), the playwrights and their all-female Samvia Theatre group directed by Amiva create a strong collective voice untangling Greek/Roman mythology’s if looks could kill eternal bad hair day." Full Review

StageBiz.com

"A mesmerizing Raúl Esparza in the title role in John Doyle’s uneven production...Brecht’s political theory molded into dialogue can be poetic, but in this production comes across as preachy. The brilliant, sarcastic juxtaposition of pseudo-Shakespearean blank verse, dialogue inspired by mobster movies and resulting Jacobean revenge play update was lost...This production muzzles the impact." Full Review

Holy Ghosts
Chelsea
StageBiz.com

“Outstanding revival...Jones and his actors take great care ensuring that the play never gets out of control...Jones adds a nice touch having worshipers occasionally look into the audience as if to bring them into their circle...Because Linney’s writing is so powerful, the service and play’s climax is controlled...Jarrett and Palmer are believably heartbreaking...This production’s heart is worn by Wassum’s Mrs. Wall, the church organist.” Full Review

The Blue Room
West Village
StageBiz.com

"Hunter’s direction allows the viewer to discover the connections without overt signalling. Curiosity is created naturally. There are funny extras...Hunter and Toth not only move scenery, but move easily from each situation and character. His persona is usually befuddled, arrogant and rich. Hers appear insecure but smarter than they let on. That 'The Blue Room' is performed in the basement of an art gallery allows their characters’ intimacy and the audience’s too." Full Review

StageBiz.com

“A raucous re-imagining of Albee’s ‘Who’s Afraid of Virginia Woolf?’...Collins easily balances the Sixties sexual revolution Albee honed in on and the raw recent revelations of predatory behavior in the workplace, academia included. He clearly encouraged the cast to explore every comedic possibility, which works because the source material is all about mayhem...Provides an Epilogue...It’s entirely probable and appropriately messy, just like George and Martha.” Full Review

Ms. Estrada
Soho/Tribeca
StageBiz.com

"An original musical with a positive message delivered by 'woke' females...The Bats energetically embrace 'Ms. Estrada' and its gender politics - politically correct or otherwise. They and the show are ensemble-based, but Malena Pennycook's Liz is a strong presence with an equally strong singing voice. Jenna Krasowski and Ben Schrager also stand out as the adults who don't have all the answers." Full Review

NY Theatre Guide

"Arrogance leads to the Emperor Jones' downfall. The last night of his reign unfolds in the Irish Repertory Theatre's riveting production, directed by Ciarán O’Reilly, with Obi Alibi’s hypnotic performance of the title role...It’s painful to watch, but hard not to. What is surprising about a 1920 play that won its author his second Pulitzer Prize is that it chronicles one man‘s descent into madness. O’Neill does not regard humanity or tyranny in black and white." Full Review

Anna Christie
East Village
NY Theatre Guide

"A thoughtful, atmospheric revival...Anna’s decision to tell both men the truth about her past is the tortured heart of the play. O’Neill doesn’t victimize her; she accepts the consequences of her actions...Director Richards and the actors keep the outbursts to a minimum. In doing so, Anna is neither a suffragette nor flapper of her era, but an independent woman...Therese Plaehn’s Anna succeeds at being both plain-spoken and vulnerable." Full Review

Ship of Fools
Soho/Tribeca
NY Theatre Guide

"Following days after Michelle Obama’s emotional condemnation of sexual and verbal harassment, the timing of 'Ship of Fools' couldn’t be better...'Ship of Fools' isn’t a linear history of feminism. It explores perceived concepts of female madness and illness...The 'fun house' concept is extremely effective, causing its desired disorientation...'Ship of Fools'' most powerful moments are contemporary...But Scott and her colleagues do not end their journey in despair." Full Review

NY Theatre Guide

"Shakespeare’s most calculating villain does all of the talking while keeping the deadly matter of succession fun. In addition to being a good host, Richard is also a great storyteller...A monologue version of ‘Richard III’ works well to start with because he always lets the audience in on what he’s thinking. With 'Richard III (A One Woman Show),’ he allows them to get closer, whether they want to or not, and it’s okay, because it also means getting closer to Shakespeare.” Full Review

The Flatiron Hex
Soho/Tribeca
The Upcoming (UK)

for a previous production "The futuristic puppet epic never downplays the End of Days, an annual event in NYORG, but provides it with an irresistible infusion of technology and hocus-pocus...The deadpan narration fits this crazy sci-fi perfectly…'The Flatiron Hex ' has a lot of the familiar, but is ultimately something utterly original and silly. " Full Review

Chimpanzee
Soho/Tribeca
StageBiz.com

"For those who are familiar with or new to HERE’s Dream Music Puppetry program, 'Chimpanzee' personifies what they do best: use the inanimate to create reality. 'Chimpanzee'’s story is told in little over an hour with Lehane’s lifelike puppet...The puppeteers curve their hands and body language inferring ugly machines measuring brain patterns. Memories, too, are prodded of the human home she was raised in." Full Review

StageBiz.com

“None of the previous versions have a song remotely like ‘King Kong Plays Ping Pong With His Ding Dong.' That alone is reason to revisit Skull Island...One of director Eugene Ma’s many fine touches is having the actors perform in front of a movie screen projecting the same scene/dialogue delightfully out-of-sync...An enjoyable look at an iconic movie. It also asks and answers some of the many questions the film raises without Hollywood or Broadway pretensions.” Full Review

StageBiz.com

“Provocative, thoroughly entertaining musical...What is played during the 90-minute musical is a kick-ass 13-song set list. Butler and the musician/actors contributors the score play a wonderful mix of rock, jazz, blues and torch songs...Butler’s Rags is a born troubadour. Sargeant’s Beaux is a powerful presence with a powerhouse voice...While Broadway plays it safe with jukebox musicals and movies-into-musicals ‘Rags Parkland Sings The Songs Of The Future’ sings for its life – and wins.” Full Review

Scraps
Soho/Tribeca
StageBiz.com

"What follows is unexpected and uncomfortable – partly from what happens and some unclear writing. That’s not a knock on Geraldine Inoa. This first play indicates she’s already a good writer who is only going to get better...Niegel Smith keeps the deep realities and fantasies immediate for cast and audience alike. The Bats are always reliable, but the six actors here are exceptional." Full Review

American Weather
Soho/Tribeca
StageBiz.com

"Deliberate randomness forms the strong visual story told by Chris Green’s 'American Weather.' Thanks to Green and his collaborator’s masterful multidisciplinary combination of puppetry, video, song, verse and live action, 'American Weather’s' barometer reads division...How this is accomplished is rigorous. In applying theatrical basics with care and intelligence, 'American Weather' is provocative." Full Review

The Diana Tapes
Soho/Tribeca
StageBiz.com

"With an insightful, balanced mixture of fact and creative nonfiction, Clements and his What Will the Neighbors Say colleagues dramatize events leading to the 1992 publication of 'Diana: Her True Story-in Her Own Words'...That’s plenty for director Wednesday Sue Derrico to work with, since Diana’s cooperation proved difficult...'The Diana Tapes' is a smart variation on the Diana myth. The only thing Clements doesn’t answer is what happens to Andrew Morton and Dr. Colthurst." Full Review

Sundown, Yellow Moon
Upper W Side
NY Theatre Guide

"It is not a bad thing that 'Sundown, Yellow Moon’s' original music by playwright Rachel Bonds and The Bengsons is memorable. The songs would overpower lesser material, but they are the invisible motivator of Bonds' powerful look at a fragile family…Director Anne Kauffman eases her standout cast through every plot and character layering...Songs express what words cannot…‘Sundown, Yellow Moon’ ends without easy answers. If it did, it would lose its voice." Full Review

NY Theatre Guide

"Arin Arbus’s current Theatre for a New Audience production, the first of the 1942 tragicomedy in New York City since 1998, reveals its – and Wilder’s – relevancy...Theatre for a New Audience proves at once that this is not an impossible play to stage. That is, if audiences allow themselves to hear Thornton Wilder’s definition of family values: Survival is assured when everyone works together and keeps their books safe." Full Review

Letter to a Man
Brooklyn
NY Theatre Guide

"Music associated with Nijinsky is never heard, but Baryshnikov occasionally quotes him in movement...He is riveting. It is a joy and the ultimate dance lesson watching him walk across or backwards in one memorable sequence...'Letter to a Man' never pretends to be an homage to its subject. What it allows is one great dancer inhabiting another and all the terribleness accompanying his legacy." Full Review

NY Theatre Guide

"'At the Crossroads: Music for Faust,' with a new score by Modern Robot, provided an opportunity to see that the 89-year-old film...Modern Robot’s score was neither 'classical' nor 'movie soundtrack'...Instead, composer Ben Singer on guitar and Spencer Cohen on drums provided mood...'At the Crossroads: Music for Faust' did not show the complete film. Still, it was enough to appreciate what an uninhibited, unscholarly adaptation it remains." Full Review

Peer Gynt
East Village
NY Theatre Guide

“CSC’s awkward adaptation of the misadventures of Henrik Ibsen’s anti-hero...The problem isn’t extreme cutting...Rather, it is overcompensation...This production’s modernizing of Peer makes him comes across as a narcissist and spoiled brat...Gabriel Ebert does what he can. However, when the Tony Award winner must use an exaggerated stage whisper for his id/inner self, he sounds false...'Peer Gynt' didn’t have to be traditional. It only needed to not try to be everything.” Full Review