Patrick Maley

Patrick Maley is a critic with Exeunt Magazine. 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 (36)
80
NJ.com

"Under the direction of Ari Laura Kreith, the play features strong performances of considerable range...'Heartland' is a two-hour family drama that is also a two-hour political critique, and a two-hour lesson in religious awareness and diversity. That’s a lot. But the Luna team succeeds in guiding Dean’s ambition into a warm, provocative production." Full Review

75
NJ.com

"There is little concern in dwelling with the functionally thin plot, but rather a concerted effort to hit the punchlines and keep moving. Dehnert and cast craft characters who are by necessity one-note with one job: evoke the laugh...There’s not much to think about or chew on here, but that can wait for other plays: here we laugh." Full Review

90
NJ.com

“This is an unabashed celebration of the pure zaniness that is farce...Those laughs come through steadily at Two River. As affairs in the play get more and more madcap...Lapine does truly impressive work in choreographing and emphasizing the gags to get the most out of this hectic script...Expertly executed and masterfully unpretentious, it is little more than slapstick for the sake of slapstick, and in that regard it is simply a whole lot of fun.” Full Review

65
Exeunt Magazine

"Even at 90 minutes, the play feels one-note, and bloated. It contains a compelling nugget of a central idea, but struggles to express it without a great deal of wheel-spinning energy...One good insight can carry even a short play only so far...These characters are not overly complex, but Shapiro and company succeed in finding the core of what makes them tick. 'Straight White Men' finds solid intellectual ground on which to stand, but struggles to sustain absorbing drama." Full Review

90
Exeunt Magazine

“Morisseau paints a rich, beautiful pallet of pain, fleeting joy, and the quest for something lasting. Performed by a superb cast under the discerning direction of Ruben Santiago-Hudson, ‘Paradise Blue’...is a bracing and invigorating new play by an exciting young playwright. Challenging, warm, in dialogue with while advancing tradition, innovatively staged, and full of clear-eyed compassion: there is nothing not to love about this play.” Full Review

80
Exeunt Magazine

"Ngaujah evokes Mlima with only the subtle, lumbering grace of his movements...A round, complex, and quite stunning portrait of this animal's pain and deep emotions...Through the inventive, sensitive performance of Ngaujah. Without tricks of theater or staging, the actor finds communion with the soul of an elephant, at once revealing unexpected emotions and signaling that more oceans of passion reside within Mlima than the stage could contain." Full Review

85
Exeunt Magazine

"Together with her talented cast, Albee’s crisp-as-ever writing, and an estimable contribution from scenic designer Andrew Lieberman, Neugebauer has crafted a production full of meticulously muted human longing...The great success of both Finneran and Sparks is showing us how Ann and Jerry are on exploratory journeys as they speak to Peter...Ultimately, this production shows how 'At Home at the Zoo' is about the space between that desire and execution." Full Review

85
NJ.com

for a previous production “A tender and quite beautiful play...Most remarkable...is how Masur and Lawler work so effectively and movingly off of each other. The highly skilled and accomplished elder never seems to be restraining his range or playing down to his young costar...He offers a complex, nuanced performance, confident that Lawler can travel with him...There are no great fireworks or shocking revelations...Cirnigliaro, Masur, and Lawler combine skillfully to achieve a warm pace for that journey.” Full Review

35
NJ.com

for a previous production "A 90-minute musical bore...The result is a muddy and uneven script, paired with trite, forgettable songs that makes for a show that can never manage to shed any fresh light on its subject...Opel comports herself well in a character that is asked to carry the entire show...But Goldman and Brody do not give Opel much to work with...This is a show dedicated almost entirely to the gag of Bobby's dating gaffes, but as that grows quickly thin, we are not left with much to which we might connect." Full Review

90
NJ.com

"It is a stand-up-and-cheer great new musical that should not be missed...A war-story cliche or two might find space in the script...But much of the show's excellence comes from its treatment of the veterans as real people...Wonderful story and performances notwithstanding, much of its dazzle finds root in Andy Blankenbuehler's direction and choreography...It is at bottom an excellent new musical full of wonderful performances and bold, finely crafted music." Full Review

95
Exeunt Magazine

“Worthy of all the considerable hype. Gritty, unapologetic, and never timid, the play examines the troubled lives of its blue-collar characters with stunningly compassionate introspection. Part of the play’s power comes from Nottage diving deep into a familiar and well-worn story line and bringing her masterful eye to it…The cast is universally strong…There is perhaps no better contemporary playwright at combing the rich nexus of history and humanity than Lynn Nottage.” Full Review

70
NJ.com

for a previous production "Full of quick, funny wit, the play is a comedy with designs on high-minded social critique. Its success in the latter endeavor is spotty, but 'Hurricane Diane' remains a droll treat...Silverman directs with an inventive eye...Drastic changes inevitably seem abrupt in a short play, and 'Hurricane Diane' doesn't avoid this pitfall. But the questions that the play's conclusion asks about human's relationship with nature and its forces resonate." Full Review

45
NJ.com

"The show takes a gritty, complex story and renders it trite, maudlin, and moralistic...The package is certainly finely tuned for maximum razzle-dazzle: Menken and Glenn Slater's songs are full of big hooks and soaring crescendos...and Sergio Trujillo's lively choreography hums with a steady energy...Palminteri's semi-autobiographical story at the heart of this show remains compelling, but 'A Bronx Tale' is ultimately much better (and more inexpensively experienced) as a movie." Full Review

75
Exeunt Magazine

"Audiences with a taste for suspense and psychological turmoil will find much to enjoy...The three actors do excellent work to place their characters on the precarious edge between communal strength and psychological turmoil...But the experience frequently suffers as a result of the seating arrangement...The tight, shared space accentuates the play’s themes nicely, but in this case doing so comes at a cost of audience experience." Full Review

95
NJ.com

"In the second act, Rashad dominates the stage with a tour-de-force of raw, unfettered emotion…Rashad's performance is the centerpiece here, but it is surrounded by a collection of excellent performers who capture fully their rich, complex characters…It is a play by a young and brilliant dramatist in the prime of his career featuring work by a virtuoso actress whose powers are on full display." Full Review

85
NJ.com

for a previous production "A bold, uncompromising musical that jumps and swings with heart, energy, and a refreshing resistance to schmaltz. It refuses to shy away from its own weighty subject matter, while also delivering a rousing score of big-band swing complemented by frenetic dance numbers...The songs sound authentic to the era, but feel uniquely fresh, and they infuse 'The Bandstand' with a palpable energy...Full of feverish music and dance, the energy here never flags." Full Review

60
Exeunt Magazine

"While there is humor to be found in this portrait of a buttoned-up, conservative white male becoming deeply uncomfortable and defensive when in foreign sexual territory, it does seem like low-hanging fruit, dramatically speaking...This is undoubtedly a funny play. There are many laughs to be had in 'The Qualms' – sex and its peculiar effect on our social selves has the power to amuse – but Norris’s writing does not push itself and does not do much to take its subject matter in any interestin... Full Review

40
Exeunt Magazine

for a previous production "Filled with contrived tension and imposed edginess, 'Clever Little Lies' leaves open the question of its relevance or insight. Certainly the play suggests that the struggle with temptation as a means of existential wanderlust is a universal human problem, but there is little here to invoke empathy. These particular problems smack of impulsive and shortsighted egocentrism with little room for nuance." Full Review

85
Exeunt Magazine

"It is uncompromising, unambiguous, and unafraid. It is also a ton of fun, and in this light emerges the great power of this young playwright...In part, 'Ain’t No Mo’' is a ruse, offering the guise of ebullience in the place of real grief, and challenging its audience to recognize the real complexity of black life. But there is no trick to Cooper’s message here, and the Public’s production amplifies this new voice boldly and vibrantly." Full Review

70
NJ.com

"Too much like a ripped-from-the-headlines issue play for a writer who traffics most often in the realm of metaphor...It feels more timely and perhaps for that reason, heavy-handed...The cast is sharp...and Oskar Eustis’s direction impressively shapes the contours of the script, but the play remains loose and often divergent...And yet, as the three-hour production turns for its home stretch, it succeeds in conjuring a tension that disturbs and frightens in its immediacy." Full Review

70
NJ.com

“Nearly everything a parent could want in a child's first theater experience...The show boasts a creative team with a miles-long list of accomplishments...But...This roster of theatrical titans seems to have preferred...a dramatized children's story told with a stripped-down simplicity...The cast is not given much room to shine in the simplicity of the characters, but high points nonetheless emerge...This show offers great fun for the young and musical-curious...Don't expect much beyond that." Full Review

80
Exeunt Magazine

“Although Nwandu’s ’Pass Over’ is rife with elegant use of subtle devices like allegory, metaphor, and allusion, it is bold agitprop, not shy about making overt claims and accusations...Taymor captures that mood of justified paranoia effectively...Nwandu’s language is lyrical, and delivered with great skill...The play is an urgent call to action...Heavy-handed, but Nwandu suggests that crisis is no time for a delicate hand.” Full Review

70
Exeunt Magazine

"The Irish Rep's vibrant production teems with life despite the consistent drag of its marquee name...McPherson writes his devil as a sharply dressed, arresting figure, oozing charisma...But Broderick gives as a satanic wallflower: low volume, low energy, low impact...Luckily O'Reilly and the rest of his team pick up the slack, allowing McPherson's script to buzz to life...Not even a flagging movie star can prevent O'Reilly and his cast from a compelling exploration of those mysteries." Full Review

90
Exeunt Magazine

"Surely 'Pygmalion' has never been more visceral and captivating than it is in the hands of director Eric Tucker and his stellar Bedlam theater company...The conflict at the center of the play transcends the class differences that fascinated Shaw by taking on pronounced shades of racism and imperialism. It is a bold insight by Tucker that comes to life on the strength of stellar acting and directing...This is a quite human and productively troubling 'Pygmalion.'" Full Review

90
Exeunt Magazine

“Greenspan’s solo rendition is at once a remarkable feat of human endurance and wonderful theater. Together with director Cummings III, Greenspan has fully realized each of O’Neill’s complex characters and successfully gives them all deep, rich renderings. Enormously long though the show certainly is, the evening proves rapturous...The melodramatic play is overfull of swings, a roller coaster that Greenspan conducts confidently and masterfully.” Full Review

70
Exeunt Magazine

"While the production occasionally loses focus in the interest of accentuating theatricality, on the whole The Seeing Place meets the challenges Churchill lays out by emphasizing the at times blinding absurdity of power and oppression...Even if this long production occasionally drags and at times imposes its concept without the most nuance, The Seeing Place has a great deal of fun examining the instability of society’s prefabricated identities." Full Review

30
Exeunt Magazine

"A style that can best be described as a parody of a bad soap opera...All of Target Margin’s peculiar choices seem purposeful. But rather than elucidating 'real truths' in O’Neill’s script, the production proves heavy-handed and overwrought...Expressionism falters and crumbles over the course of more than five hours, and we are left wondering why these people seem so distant and inaccessible." Full Review

75
NJ.com

"It is an insightful play that is neither as meticulous nor efficient as it could be, but nonetheless does impressive work to underscore the personal at the heart of the political...Has a tendency to drag in the middle...The play's strength is Rogers's ability to create knowable people out of characters who might only stand in for political positions...Sher and Rogers probe with real curiosity and insight the conversations people conduct as a means towards global progress." Full Review

95
Exeunt Magazine

"An expressionistic masterpiece. Under the boldly inventive eye of director O’Reilly, O’Neill’s controversial 1920 play thumps and swirls itself deeper and deeper and with increasing wonder into the fissured psyche of its title character...Even with stellar acting and directing, the elements that lift this production to its greatest heights come from its technical team...The expedition pays off handsomely, as this production captures all that makes O’Neill’s play powerful and haunting." Full Review

95
Exeunt Magazine

"A sharp, stellar production...McDonagh’s acerbic dialogue pops to life, threatening at all times to maim with its power. The excellent cast proves adroit with such a potent script, and the result is a production that manages to be at once haunting and a whole lot of fun…’Beauty Queen’ is full of McDonagh’s trademark wit and caustic worldview, but this production finds its great strength in the performances at its center…In these experienced and skillful hands, McDonagh’s play bursts to life." Full Review

80
Exeunt Magazine

"A landmark and still timely play that is the masterwork of an important playwright directed with real grace and insight by the writer himself...Three delicate, precise performances...This short production may begin to drag in its middle, but Fugard’s writing and direction utilize the quotidian masterfully to engender and underscore an impactful conclusion...This production expertly captures both the tension of the social situation and the shock of its snapping." Full Review

70
NJ.com

"O'Reilly again locates the powerful core of McPherson's play and its emotionally fraught characters. Yet this production is weighed down considerably by Broderick, who seems so preoccupied with maintaining his accent over the course of a great many lines that he does not find much room for complexity in his character...Still...this company's exploration of the catalogue of McPherson has been thrilling, even if the lure of a blockbuster name mars 'Shining City.'" Full Review

80
Exeunt Magazine

"Despite how much of an outlier it is in the O’Neill oeuvre, it is a delicate, late-career masterpiece currently receiving a fine Broadway revival with Forest Whitaker in the lead role...Excellent performances notwithstanding, the best part of this 'Hughie' is Christopher Oram’s stunning set, dominated by a looming, grand staircase...Despite a bit of directorial interference, this production deserves full marks for its courage to embrace the play as it is given to us." Full Review

85
Exeunt Magazine

"This show shines as a moving exploration of the balance between loneliness and community in rural Ireland...O’Reilly’s direction proves insightful in capturing McPherson’s characters’ powerful urge for sharing themselves with the community in the hopes of finding a more clear understanding of the world." Full Review

85
Exeunt Magazine

"So compellingly human...This ninety-minute production shows impressive efficiency in developing compelling characters with whose struggles we can empathize, regardless of how far we might be removed from Northern Irish violence. Anchored by dynamic performances, the production approaches violent political turmoil on the level of warm and insightful personal struggle." Full Review

90
Exeunt Magazine

for a previous production "In the steady hands of director Ciaran O’Reilly and a first-rate cast, the Irish Rep’s production deftly dwells in the powerful space of storytelling. Subtle light and sound cues accent the scenes of stories. The stylized storytelling set-pieces underscore these 'old cods' as the soul of this play and this community." Full Review