Peter Filichia

Peter Filichia is a critic with NJ.com. 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 (61)
Last Days of Summer
New Brunswick
BroadwaySelect

"'LAST DAYS OF SUMMER': Would You Believe…?" Full Review

BroadwaySelect

"Cummings, whose directorial efforts far more often win than lose. But, sad to say, here’s a loss in which he’s defeated by his own concept...A play of all talk and no action. Thus, you’ll want to hear every word of each pro and con argument. Unfortunately, the actual stage of a theater was never designed with acoustics in mind, so the unmiked actors are hard to hear...We don’t get to know the people as individuals, what with all the mix-and-matching – which makes us less emotionally involved." Full Review

BroadwaySelect

"I estimate that about 40% of the dialogue is Sorkin’s alone – and nearly 100% of it is riveting...Sorkin has occasionally replaced but more often has augmented what Lee and Foote had written...Sorkin’s adaptation, which doesn’t just cannibalize what his previous authors had written. Sorkin has occasionally replaced but more often has augmented what Lee and Foote had written. All those adapting should take Sorkin as their inspiration." Full Review

BroadwaySelect

"'Be More Chill' doesn’t see the need to endlessly mock Jersey when there are so many issues about high school life to examine...That 'Be More Chill' includes all the teen angst that’s been detailed in hundreds of properties before it isn’t a liability; all the issues still ring of truth...The show loses its way in the last 15 minutes, but Iconis and Tracz give us the confidence that they’re going to get it right as they continue to work on the show...Roland's giving the performance of the se... Full Review

BroadwaySelect

"If you’re the type of theatergoer who checks out the list of musical numbers in the program before the show starts,'Pretty Woman: The Musical' will already be pretty disappointing...All clichés, all phrases we had heard before we reached our teenage years. Don’t expect the lyrics that follow those titles to hold any particular interest, either...Making a solid Broadway debut is Samantha Barks, who’s charming, appealing and most able in song." Full Review

BroadwaySelect

for a previous production "What makes Grey’s production extra-extraordinary is that he has found the perfect balance between the show’s comedy and tragedy...Stephen Skybell is a splendid Tevye, especially in his scenes with Lazer-Volf...Seldom has a Golde been as tender as Mary Illes...Hoffman is giving us a finely tuned, completely restrained and – most important of all — utterly human performance." Full Review

BroadwaySelect

“As the king, Rylance gives yet another brilliant performance...Rylance keeps you guessing what the hell is going through that addle-brained head of his...Davies beautifully handles the Handel...Theater at its purest...The simple values that were evident in the Rylance-enhanced productions of ‘Twelfth Night’ and ‘Richard III’ four seasons ago are once again in evidence for all to see and hear. If you missed those two, at least capture this third jewel of the triple crown.” Full Review

Illyria
East Village
BroadwaySelect

“Every young boy and girl who plans to be a performer must see ‘Illyria.’ You should, too. Through Richard Nelson’s new play and production, everyone can see what real acting is – meaning acting that doesn’t seem to be acting at all…Nelson gets a natural, unadorned and unassuming performance from each of his 10 actors…Once again see that underplaying is a much better choice than over-the-top. Call this Theater-of-the-Matter-of-Fact." Full Review

Inanimate
Soho/Tribeca
BroadwaySelect

"It’s an excellent premise for a play. But, Mr. Robideau, why do those who practice objectum sexualis have a thing for a thing?...Robideau is instead content to have us say 'Isn’t this bizarre?' for 85 intermissionless minutes...Give Robideau credit, though, for getting one important aspect right. He never goes for laughs when detailing Erica’s condition...And let’s not criticize director Courtney Ulrich, who stages 'Inanimate' with integrity." Full Review

BroadwaySelect

"If my performance is typical, Moore and his staff are hard at work before each performance, for events that had happened only hours before were trotted out in front of us...More to the point or Moore to the point?—the tale substantiates the theme of the show: one person can make a difference and a substantial one at that...And what would happen if the 1,018 people who are filling the Belasco each night were so inspired? There’d be some changes made, wouldn’t there?" Full Review

BroadwaySelect

"Now we have another show in town to remind us that immigrants get the job done. It’s everyone’s story, albeit one that is experienced by different people at different times...Wasserman has staged songs and sketches in lickety-split fashion. She’s also cast it superbly. Perlman is the standout, for his charming smile, deft singing and sharp footwork are matched by his endearing lack of guile...Be aware that Yiddish is the language of choice here...Excellent supertitles take care of that issue." Full Review

BroadwaySelect

"Eustis’ imposing Donald Trump into the proceedings ultimately turns out to be a sour mistake–but not necessarily for the reasons that infuriated Delta and Bank of America...Seeing 'Juius Caesar' under any circumstances is always a worthy way to spend one’s time...It’s a marvelous play...So are they all honorable actors...Marvel is often accomplished...Corey Stoll as Brutus and John Douglas Thompson are especially potent in the post-assassination scene." Full Review

BroadwaySelect

"The score is professional; the scenery tries to get by on our pure imagination; the cast is fine except for the child who plays Charlie...Worse still is the show’s basic premise which we must face head-on: Willy Wonka is a serial killer...It’s all meant to be a cautionary tale: 'Kids! Don’t disobey your parents! Behave and you’ll be rewarded!' and 'Parents! Don’t overindulge your kids!” But the message comes from a place of fear, not rationality." Full Review

BroadwaySelect

"The new show occasionally augments but more often muddies what the movie did so well...Despite Minchin’s occasional triteness, he emerges as half a Sondheim. Like the master, his lyrics more often have an abundance of fresh images and cleverness...But...he doesn’t care a whit about finding perfect rhymes...Andy Karl gives a solid as Phil...'Groundhog Day' may be a disappointment to rabid fans of the film. Even in this guise, however, it can still inspire." Full Review

BroadwaySelect

"'The Skin Of Our Teeth' now seems as apt as ever...Kecia Lewis is truly extraordinary as Mrs. Antrobus...Just as Wilder predicted that the human race would always get by albeit by the skin of their teeth, so too has Wilder’s play managed to survive and be constantly revived despite those who can’t begin to get into it. Considering the bang-up job Arbus has done with this masterpiece, just go with the flow, the allegory and the achievement." Full Review

BroadwaySelect

"He simply tells of the 15 years that he knew the distinguished performer, first as a castmate and eventually as a bosom buddy...Dixon knows how to get us to laugh when detailing his own theatrical forays...We all have our dark sides, but Rose’s was particularly murky and you’ll undoubtedly find yourself seeing why Dixon wanted to make a speedy exit. Most of 'Georgie,' however, is great fun – especially for theater enthusiasts who, like Dixon, can’t get enough backstage lore." Full Review

Sweet Charity
Midtown W
BroadwaySelect

"A show with the word 'sweet' in its title was conceived as a musical comedy; darkening it, as Silverman has done, only stains it...Foster mostly gives a flat delivery to her lines...Not every one of Silverman’s ideas is bad. Having Charity joining 'Big Spender' and Ursula collaborating on 'Too Many Tomorrows' are both sharp decisions...The baton should have been passed to an actress who could have convinced her director to play Charity sweet." Full Review

BroadwaySelect

"Seeing Ringwald resemble MacLaine reminds us, though, that we’re watching a story we’ve already seen...Why remind us that we’ve had the quintessential 'Terms of Endearment' experience long ago, especially if you can’t do it as well on stage?...The playwright uses clunky exposition all too often, and starts too many scenes with such lines as 'It’s been two weeks' and 'It’s been five years'...Just another reminder of how much 'Terms of Endearment' relies on the film." Full Review

Heisenberg
Midtown W
BroadwaySelect

"Is Stephens’ play worth watching? Well, it’s no 'Curious Incident of the Dog in the Night-Time'...Still, Stephens has completely succeeded in creating a full-bodied and red-blooded character for Mary-Louise Parker to play. Better still, you’ll have to go far and wide to find an actress who perfectly understands the woman she’s been given to play. How much director Mark Brokaw also had to do with this raging success we’ll never know, but Parker’s performance will be cherished." Full Review

A Day by the Sea
Midtown W
BroadwaySelect

"Manages to be Chekhovian in feel and yet be its own fine drama...Director Austin Pendleton and the top-notch cast certainly knew what to do with this sixty-three-year-old neglected gem...There’s Hunter’s strength: the line that makes your mouth open with awe and reminds you that you’re in the company of a first-class writer...For those who insist that any play over a couple of years old is automatically dated, how about the sequence where Uncle David predicts global warming?" Full Review

The Encounter
Midtown W
BroadwaySelect

"The sound is so authentic that you’ll be looking over your shoulder to see who’s coming down the aisle only to discover there’s no one there...With all this going on, the story is almost an afterthought...At its worst, the show is akin to an amazing sound demonstration at a stereo store. At its best, it’s a radio play masquerading as a Broadway attraction – but a radio play that Orson Welles would have cut to a half-hour from its current 110 minutes." Full Review

BroadwaySelect

"The songs run the risk of seeming like filler. Does Brant simply not have all that much to say about these two people and thus opts for musical divertissements?...Credit director Neil Pepe for masking these potential potholes by keeping matters moving, and, of course, for casting Lewis and Rebecca Naomi Jones, who have done him proud in this two-hander." Full Review

American Psycho
Midtown W
BroadwaySelect

"'American Psycho' doesn’t resemble any other musical, mostly because it doesn’t want to. While some shows have been said to 'move like the wind,' Goold has this one roar across the stage like a tsunami...'American Psycho' is something to experience rather than enjoy. But one must admit that this is probably the best possible adaptation of 'American Psycho' that anyone could possibly create." Full Review

BroadwaySelect

"There would have been a time when Alison Bechdel’s frank graphic-memoir would have never been considered for musicalization. But in these more enlightened times for both society and musical theater, Tesori and bookwriter-lyricist Lisa Kron were able to tackle the subject – and succeed mightily...Among the newcomers are Gabriella Pizzolo, Cole Grey and Zell Steele Morrow as the Bechdel tots...They’re delightful and hilarious in the show’s title song." Full Review

BroadwaySelect

"We see that these women don’t even know who they are. They haven’t been helped by just being exposed to superficial 'art?' The only spirit they show is so-called 'school spirit.' If 'The Marvelous Wonderettes' had left it at that, it wouldn’t be having a revival now. But Bean does something marvelous and wonderful post-intermission...Bean has given us a commentary on how much the world changed for women in a decade and how much their collective consciousness was raised." Full Review

BroadwaySelect

"O’Casey is being very well-served by O’Reilly, who’s staged a potent production of 'Gunman'...O’Casey’s theme that paranoia can run rampant – but sometimes in the wrong direction – comes through boldly...O’Reilly’s production keeps that suspense building with it-could-happen-at-any-second tension." Full Review

BroadwaySelect

"Jeremy Pope is magnificent as Pharus. How you’ll wish you could have had his backbone when you were in school dealing with your teachers. Under Trip Cullman’s beautifully restrained direction, Pope makes Pharus only semi-flamboyant and Anthony, his straight roommate, not overly butch...Some of the best musical moments currently on Broadway. It’s a very good play, if not a great one." Full Review

BroadwaySelect

“For anyone who cares the least bit about journalism and standards, the very existence of this play will bring about a rage that’s as intense as a forest fire...For those who believe the media is ‘the enemy of the people’, this play will convince them that once again, they are never wrong...Silverman gives the play an efficient staging...Cannavale does well in conveying D’Agata’s laissez-faire attitude...Jones is perfect for the hard-bitten editor who bites hard, too.” Full Review

BroadwaySelect

"Sure, there’s something appealing about trying to recapture one’s youth. Here, though, virtually every character is immature, suggesting that nobody ever grows up in New Jersey...Nostalgia aside, if you’re approaching your 25th high school reunion and the best you’ve got to show for it is a few rides on the Log Flume and the Giant Wheel, my, you’re in trouble (and not worthy of our attention)." Full Review

BroadwaySelect

“Sometimes the play meanders and becomes as messy as a Collier Brothers’ Fifth Avenue home. There’s an all-too-convenient deus ex machina, too. At least Wulp stokes our interest in a genuine historical character we’ve probably missed along the way...Nichols does well by it. One does wish that a major star had tackled the part...Pendleton’s direction impresses. All his supporting actors give unmannered, real-person performances with one exception: O’Connell." Full Review

Miles for Mary
Midtown W
BroadwaySelect

"It doesn’t hit the bull’s eye on the target, but it’s only one mere circle away from it...What’s strong is that the characterizations offer many surprises...There’s lip-smacking potential here, but 'Miles For Mary' simply isn’t as constantly funny as a theatergoer would want. The audience did laugh now and then, but they didn’t for many long stretches – and yet they expected to. It’s a play that is oh-so-close, yes, but oh-so-far away, too...Here’s an ensemble worthy of an award." Full Review

BroadwaySelect

“You’ll know before a minute passes that Fiasco's production is going to be an imaginative one...Grotelueschen plays Sir Toby Belch nice and subtly...There are some other time-honored devices that haven’t been seen in a while and will be welcome sights for theatrically experienced eyes...Steinfeld helps by being a fine Feste...But Fiasco can’t overcome the problem that has plagued every production...Sebastian and Viola never resemble each other." Full Review

Desperate Measures
Midtown W
BroadwaySelect

for a previous production "The funniest, most tuneful, non-stop, slam-bang best musical of our four-month-old season...If Shakespeare were alive today, he might smack his head for not thinking of a romantic entanglement that Kellogg did...Kellogg’s jokes get laughs that are substantially longer than the theatrical average. Subtle gags abound, too...Castellino sets a tone where a tongue isn’t firmly planted in cheek, but rubs against it a little." Full Review

Prince of Broadway
Midtown W
BroadwaySelect

"33 selections–and, happily enough, they’re not all greatest hits...Prince and Stroman wisely had almost everyone avoid replicating any original cast performance. As a result, the show that could have been a mere photograph is instead is a painting...Most of what’s included is mostly terrific, including a dynamic first-act ending and a powerful Act Two beginning... In a way–and this is a compliment–it’s a sincere 'Forbidden Broadway.'" Full Review

A Parallelogram
Midtown W
BroadwaySelect

"Every time you say, 'Ah! This is what this play is about!' it takes a turn that may make you say, 'Now what’s going on?'...As the play continues on its two-and-a-quarter-hour journey, there’s some collateral damage that makes a confusing experience into an ultimately unpleasant one...No need to blame director Michael Greif or the cast. Keenan-Bolger is one of our best actresses at making exasperation seem cute...Gillette gives an astonishing, multi-award-deserving performance." Full Review

1984 (Broadway)
Midtown W
BroadwaySelect

"Frankly, it isn’t that scary...Robert Icke and Duncan Macmillan’s adaptation of George Orwell’s classic is far milder than it could be...Tom Sturridge’s Winston confusedly squints a lot during the first quarter...Olivia Wilde is heartbreaking when her Julia wishes for 'a feeling that’s just yours, one that has nothing to do with them—something of your own'...Most of the time, though, Sturridge and Wilde are asked to act scared...'1984' could be much more scary." Full Review

Pacific Overtures
East Village
BroadwaySelect

"An effective production...Those who know 'Pacific Overtures' and admire the extraordinary 'Chrysanthemum Tea' might want to commit hara-kiri once they hear that Doyle has dropped it...Nevertheless, one must admit that 'Pacific Overtures' has so many assets that even those who love the song might be so swept up in the blissful 90 minutes that they’ll only later realize that they didn’t hear it." Full Review

BroadwaySelect

"They and it both shine in the play’s fourth Broadway revival...Nixon is a steely Regina throughout the play, which is a fine and supportable choice. Linney is more fascinating, though, in the way she negotiates...Nixon seems more vulnerable, though, as Birdie...Whom you see first can really make a difference. What’s the solution? See them both in their two different roles." Full Review

War Paint
Midtown W
BroadwaySelect

"Korie’s lyrics are witty and deft — at least for Ebersole, Sills and Dossett. They may well be for LuPone, too, but one can’t say for sure because she is unintelligible when she sings...Greif’s utterly lackadaisical pace is tantamount to watching war paint dry...The show isn’t toothless, and yet it’s not as ruthless as many would have anticipated...Too bad that the show doesn’t sparkle nearly as much and it could have." Full Review

Sunset Boulevard
Midtown W
BroadwaySelect

"Close is totally centered and zeroed-in on the script and score…She is even better now that she was in 1994…Close was 47 when she debuted the show on Broadway, which means that 70 is now not far away. And yet, that makes Norma’s need that much greater…The Greatest Orchestra on Broadway embellished with symphony-level sound ‘The Greatest Star of All’ and all the other potent Lloyd Webber-Black-Hampton songs." Full Review

The Present
Midtown W
BroadwaySelect

"No amount of fog can mask the stretches of dullness in the three-hour production. Some of them are intentionally meant to show the bored and self-destructive lives of 13 people; others are just boring – and not in the fascinating way in which Chekhov conveyed boredom...Upton has some good lines that are in the Chekhovian spirit...Blanchett is terrific as Anna...The other 11 actors adequately do their jobs...It’s a case of. 'Now you’re interested; now you aren’t.'" Full Review

Dead Poets Society
East Village
BroadwaySelect

"Jason Sudeikis has this 'Robin Williams role,' and he’s splendid in creating the teacher you always wanted to have and love but never did...Schulman has done well himself with the four precepts he’d designed for Welton; he certainly 'honored' the 'tradition' of his original script and was 'discipline' enough to see the project through. And while he succeeded at making the show 'excellent,' he can’t give us a compelling enough reason why his screenplay should come to the stage." Full Review

The Front Page
Midtown W
BroadwaySelect

"Why Slattery was cast? The reason couldn’t have been that anyone would have thought he was right for the role...Slattery's worst moment comes when he swallows the play’s best line...Slattery seems perilously close to retirement age, which lessens his being so valuable to the newspaper...Exacerbating this flaw is the Peggy Grant that O’Brien cast is Halley Feiffer, not yet 32 and looking younger...Lane’s fine, although he could have added even more ferociousness than the ferocity he’s found." Full Review

BroadwaySelect

"Greenberg, who wrote the book with Chad Hodge, both strain our credulity substantially...This would seem to be an ideal show for Roundabout subscribers, most of whom are no kids...Does anyone remember 'Steambath?' One character says that she often assumed that death meant, 'You’d have to spend every day of your life in a different Holiday Inn.' Well, the show at Studio 54 isn’t remotely that hellish, but it does have so many liabilities that the line does come to mind." Full Review

Spamilton
Midtown W
BroadwaySelect

"This romp isn’t merely all-'Hamilton,' all the time. There are references to two dozen other Tony-winning musicals and quite a few runners-up, too...The fun is that the actors greatly resemble the stars of 'Hamilton'...The four men and one woman do exhaustively yeoman work. They all sing well and hit the jokes to get the maximum laughter out of them...Despite a nicely sentimental ending, theatergoers get all the slings and arrows of outrageous Gerard Alessandrini." Full Review

A Taste of Honey
Midtown W
BroadwaySelect

"The play may indeed make you gasp not from shock, but because of Delaney’s astonishing ability to be smart, fair-minded and even prescient...Pendleton steers his five performers into displaying the best kind of acting – which seems like no acting at all...He brings the musicians into the apartment and has two of them sit on the couch...It’s distracting — and the musicians look none too pleased to be there." Full Review

Paramour
Midtown W
BroadwaySelect

“Atrocious and incompetent effort now being offered by Cirque du Soleil. It shows that this troupe knows nothing about Broadway musicals...Beware, Cirque fans! If in the past you’ve loved to ‘Ooooh!’ and ‘Ahhhh!’ at the many wondrous stunts enacted by gymnasts and acrobats, you’ll be using your vocal cords far less frequently. About a third of the show is devoted to pyrotechnic feats...The other two-thirds of the show is a musical. It stinks.” Full Review

Waitress (NYC)
Midtown W
BroadwaySelect

"Too much of Jessie Nelson’s libretto is silly and inconsequential and simply not as good as Adrienne Shelly’s film. Sara Bareilles’s score, although sounding right for the characters, doesn’t make enough of an impression, either...Jessie Mueller remains far more than above average in talent...Director Diane Paulus has staged much of it so farcically that near the end, when theatergoers should be taking matters seriously, they instead laugh." Full Review

Shuffle Along
Midtown W
BroadwaySelect

"I was galvanized by what Wolfe had to say and show — until intermission. Wolfe’s Act Two dealt with my bugaboo: 'Shuffle Along' collaborators’ personal lives...If we’re to learn about “the making of the musical,” we need to hear and process that information; making our heads work in tennis-match fashion by going from one speaker to another, trying to find who’s talking now, making each line harder to hear results in a far less enjoyable and informative show." Full Review

The Crucible
Midtown W
BroadwaySelect

"This time Ivo van Hove has gone too far...His take on 'The Crucible' is sterile, low-octane slow, badly staged, an assault on eyes and ears as well as horribly misconceived...In a play where everyone should have people almost atop each other, the stage is big enough to host an Arena Football game...There isn’t enough face-to-face in-your-face conflict...The rest of the cast is fine, and all deserve to be in a traditional production, or, at the very least, one less misconceived than van Hove’s." Full Review