Peter Marks

Peter Marks is a critic with The Washington Post. 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 (160)
Fat Ham
East Village
The Washington Post

"Unabashedly entertaining and one of a spate of enticing new plays that are destined to be seen on stages across the country, offering fresh hope to theaters and theatergoers who are willing the industry back to full health." Full Review

POTUS
Midtown W
The Washington Post

"Every player, in fact, gets funny moments: The laughs are doled out so judiciously that the actors’ contracts may have been drawn up with the equal protection clause in mind." Full Review

Suffs
East Village
The Washington Post

"The academic rigor with which Taub charts the progress and setbacks in the cause from about 1913 to 1920 might even earn her tenure somewhere; you wouldn’t be surprised if the program had come with footnotes. Much of the score — Taub wrote book, music and lyrics — is written in recitative, which confers on “Suffs” an operatic quality. But the melodic variation occurs in too narrow a range, which often has a dulling effect on the proceedings." Full Review

The Washington Post

"The amusingly humane stitching for “Take Me Out” is provided divinely by [Jesse Tyler] Ferguson, whose illumination of a new fan’s cerebral affection for baseball’s elegant choreography could not be better played." Full Review

The Washington Post

"That sordid history would not seem to have foretold a jukebox musical devoted to the upside of Jackson’s genius — and certainly not by artists of the caliber of two-time Pulitzer winner Nottage (“Ruined,” “Sweat”) and the celebrated ballet world fixture Wheeldon. The show’s decidedly selective memory may be off-putting to theatergoers appalled by the stories of Jackson’s alleged misdeeds. Nevertheless, the creative team’s painstaking work has resulted in a riveting, adrenaline rush of a show... Full Review

The Washington Post

"This offbeat premise — smartly realized only by Beowulf Boritt’s scenic designs and the projections by 59 Productions — has been turned into an entertainment about as scintillating as an Agriculture Department instructional video on crop irrigation. It’s as if Lincoln Center Theater and the accomplished creative team (with two Pulitzer Prizes among them) came to the creative juncture of delightful and tedious and took the wrong fork. Long-winded and impossibly earnest, the world-premiere ... Full Review

The Washington Post

"But McClure’s gifts — robustly on display in the musical that marks its official opening Dec. 5 at the Stephen Sondheim Theatre — don’t include a radiant star element. It’s a wholly admirable, workmanlike performance: technically impressive if not charismatically embraceable. “Mrs. Doubtfire,” then, directed by Jerry Zaks — a pro with an innate sense of farcical mechanics — feels like an erratic musical-theater equivalent of a tribute band." Full Review

The Washington Post

"A sublime 3½-hour dash through the history of American capitalism that passes in what feels like no time." Full Review

The Washington Post

"The play instead comes across as the embodiment of an escalating frustration over how to make Black lives matter...The magnetic Hill and Smallwood infuse Moses and Kitch with exuberant physicality; though they create distinct characters, the ineffable, mutual dependence they conjure is their chief accomplishment." Full Review

The Washington Post

"It’s an illuminating exercise in both self-reflection and groupthink — and an example of how, as audiences emerge from personal hibernation, theater is seeking novel kinds of visceral engagement." Full Review

The Washington Post

"This gutsy new ‘West Side Story’ is unlike any you’ve seen — and it’s exhilarating" Full Review

The Washington Post

"Tried and true formulas work in ‘A Soldier’s Play’ and ‘Grand Horizons’" Full Review

The Washington Post

"Laura Linney, going it alone on Broadway as both a mother and her estranged daughter" Full Review

The Washington Post

for a previous production "You oughta know this about ‘Jagged Little Pill’: It’s hard to swallow as a Broadway musical." Full Review

The Washington Post

"As rock-star portrayals go, it doesn’t get any better than Adrienne Warren as Tina Turner" Full Review

Soft Power
East Village
The Washington Post

"Ever wondered how China sees America? ‘Soft Power’ offers amusing ideas." Full Review

The Washington Post

"Miranda and company devise raps on the spot. And you’re in your happy place." Full Review

The Washington Post

"‘Hercules’ proves strong enough to lift all of Central Park, but only for a few days." Full Review

The Washington Post

"Will you love ‘Moulin Rouge!’ as a stage musical? Well, you’ll certainly fall in like." Full Review

Ink
Midtown W
The Washington Post

“An engrossing, richly detailed play...A smart sequence that runs through how a story goes from typewriter to hot type to newsprint is highly entertaining...The impressive Carvel portrays Murdoch as sly and ruthless, but Graham’s idea is not a caricature by any means; the publisher is a scrupulous businessman...If the gutter is where readers wanted their news to wallow, Murdoch and company were content to lead them to it. Here’s hoping that lovers of plays...will want to follow, too." Full Review

The Washington Post

"Effecting a not-entirely-convincing working-class London accent, Lane gamely tries to make hay of the tedious bluster of Mac’s conceit, about the bloody mess we’re all now in, and how we deal with the aftermath...An attenuated mess of a black comedy, partly in rhymed couplets and lacking even a scabrous sort of gleefulness, strands a theatergoer for 90 minutes in a restless state of ennui...Dramatic dissonance is one thing. An entire evening of flat notes is another." Full Review

The Washington Post

"In the characterizations by John Lithgow as Bill and Laurie Metcalf as Hillary, under the direction of Joe Mantello, you’re treated to an engrossing psychological tennis match...With splendid assistance from two other actors — Zak Orth as Hillary pollster Mark Penn and Peter Francis James, materializing for a meetup as then-presidential candidate Barack Obama — the play sketches an emotional/professional mind-meld that might keep a panel of shrinks busy." Full Review

The Washington Post

"A vibrantly, cerebrally remastered golden-age musical that is held back a bit by some weak-tea singing and dancing...Some actors add twangy flourishes to their numbers, or caterwaul the high notes, which only put you in mind of better renditions you’ve heard, or that the voices aren’t quite up to the demands...What’s best in this ‘Oklahoma!’ is the morally ambiguous cue Fish develops so smartly from Rodgers and Hammerstein’s own narrative impulses." Full Review

The Washington Post

"It would be hard to identify a work for the theater with its finger more cogently and rewardingly on the pulse of America right now...The endearingly funny evening...puts you contentedly in mind of one of our inalienable rights: the pursuit of happiness...Schreck is key to the play’s advanced level of enchantment. It’s her self-effacing buoyancy that sustains the piece, even at the few moments when it teeters on the brink of excessive digression." Full Review

The Washington Post

for a previous production "Buoyed by the suave choreography of Sergio Trujillo and thrill-a-minute performances by such stars-in-the-making as Jeremy Pope and Ephraim Sykes, 'Ain’t Too Proud' proves to be two or three cuts above the standard-issue anthology pop musical...The propulsive narrative of 'Ain’t Too Proud' not only reflects Morriseau’s understanding of how to invest an audience in the Temptations’ emotional spirals, but also McAnuff’s savvy at packing the music into every available nook and cranny." Full Review

The Washington Post

"The composer-lyricist already has that Pulitzer, but now he deserves the Tony. Spivey should get one, too. Heck, give 'A Strange Loop' a lot of Tonys. That’s only just, for the best Broadway musical of the season." Full Review

The Washington Post

"You’ll be relieved to know Billy Crystal is still a stand-up guy — stand-up in the sense that the jokes in 'Mr. Saturday Night,' the 1992 film comedy he and other showbiz pros have turned into a slender but agreeable Broadway musical — are old-school funny, polished and impeccably timed." Full Review

The Washington Post

“Paradise Square,” directed by Moisés Kaufman and choreographed by Bill T. Jones, substitutes energy for enlightenment. It’s a dizzying thicket of dance breaks and choral numbers, patterned not particularly elegantly after other Broadway epics including “Ragtime” and “Les Miserables” and “Miss Saigon.” A more apt title might have been “Overkill: The Musical.” Full Review

The Washington Post

"This Professor Hill seems less a traveling salesman than a song-and-dance man on a second-class national tour. So ya got trouble in River City, and the miscasting of Jackman is hardly the only problem. Director Jerry Zaks has inexplicably opted for a cartoon version of the musical, with set and costume designer Santo Loquasto joining him as an over-the-top accomplice...Foster’s Marian has arrived, it seems, from a better production." Full Review

The Washington Post

"This compressed revival of “Long Day’s Journey” is produced by Audible, a company with the admirable mission of recording its productions at off-Broadway’s Minetta Lane Theatre for millions of listeners. (Audible is owned by Amazon, whose founder, Jeff Bezos, owns The Washington Post.) But the genius of O’Neill’s masterwork, I’d argue, is in that endless torrent of words, the incessant rounds of barbs and complaints and accusations the Tyrones heap on one another. An optimal “Long Day’s Jour... Full Review

Company (Broadway)
Midtown W
The Washington Post

"The highs are so high in director Marianne Elliott’s gender-reversed “Company” that a Sondheim freak like me can live with aspects that don’t quite hit those lofty heights. We’ll get to those, but first, let’s dwell for a spell on the joys of a Broadway revival that had its official opening Thursday at the Bernard B. Jacobs Theatre — pleasures that make this production a moving, and deeply funny, living memorial to the late Stephen Sondheim." Full Review

Dana H. (Broadway)
Midtown W
The Washington Post

"A mesmerizing act of electronic ventriloquism...It’s hard to say which is more absorbing: Dana’s story or O’Connell’s uncanny portrayal, requiring her to reproduce in perfect alignment with the audiotape every cough, pause, giggle and slap of the chair in which she sits for much of the 75 minutes of the piece." Full Review

The Washington Post

"In this beautiful capstone work, though, the sense is not so much a resolution as a dissolving; the characters of “What Happened?” have become unmoored, as if the isolation of the pandemic has caused some permanent psychic dislocation." Full Review

The Washington Post

"Such an exercise could be invasive or cringe-inducing. But the cards guide participants so gently through the sessions lasting about 45 minutes, and the communication that they provoke can be so sweet and surprising that it all comes across as a joyful resetting of one’s bearings for being out in the world." Full Review

The Washington Post

for a previous production "Listen up, Bob Dylan fans: You’ll want to journey to Broadway’s ‘North Country'" Full Review

Medea (BAM)
Brooklyn
The Washington Post

"Beware. This stylish ‘Medea’ adaptation offers no escape, for Rose Byrne or for you." Full Review

Grand Horizons
Midtown W
The Washington Post

"Tried and true formulas work in ‘A Soldier’s Play’ and ‘Grand Horizons’" Full Review

Greater Clements
Upper W Side
The Washington Post

"‘Greater Clements’ is the best new play of the year" Full Review

The Inheritance
Midtown W
The Washington Post

‘The Inheritance’ is epic in length, but not always in satisfaction" Full Review

The Washington Post

for a previous production "David Byrne brings his entertaining brain to Broadway in ‘American Utopia,’ and it’s totally dope" Full Review

The Washington Post

for a previous production "‘Slave Play’ is a funny, scalding, walk along the boundary between black and white in America" Full Review

The Great Society
Upper W Side
The Washington Post

"In ‘The Great Society,’ history marches numbingly on, and on, and on, and on" Full Review

The Washington Post

"Jake Gyllenhaal is a stage animal for sure. But he needs more feral turf in ‘Sea Wall/A Life.’" Full Review

The Washington Post

for a previous production "This reworked incarnation, under Alex Timbers’s direction, breathes slightly more enjoyably even as it remains too faithful to the pumped-up inclinations of book writers Scott Brown and Anthony King and composer-lyricist Eddie Perfect...On the seriously plus side, two inferior songs have been cut from Act 2...It will never be among my favorite musicals, but I bet there will be a healthy and less-encumbered cheering section for it in New York." Full Review

Tootsie (NYC)
Midtown W
The Washington Post

“Embraceably funny...The sublime Santino Fontana not only gets to strut his farcical stuff, but also sings, amazingly well, in two registers...With a genuinely witty book by Robert Horn and an engaging score by David Yazbek...“Tootsie” is the tuneful winner this Broadway season has been desperate for. It’s a good-natured, conventionally assured book musical of the golden-age variety, expertly directed by Scott Ellis, with a clown car’s worth of comic actors." Full Review

Burn This
Midtown W
The Washington Post

"Absolutely delightful, witnessing Adam Driver, in an utterly captivating turn...The slightly discordant element for the audience here is forming the belief that this woman of inordinate self-control would have the patience for such a potential romantic train wreck; Russell never gives the impression that her Anna is capable of letting go to the degree that would seem necessary...Though, we are all so in the thrall of Driver...that we believe in his ability to turn Anna’s head. He’s such a na... Full Review

The Washington Post

“The lugubrious new Broadway musical that takes us to hell and back, via a jazz and blues-fueled account of the Greek myth of Orpheus and Eurydice...The embellishing of the myth, through an assembly line of sound-alike songs and mechanistic dance sequences, rambles on...and, only occasionally, with any inspirational joy, or heart...The plot comes across as an accessory to the production’s style rather than the other way around. It’s not a winning formula.” Full Review

The Washington Post

"Confoundingly muddled evening...On the evidence of this latest version, no one is going to go near this thorny brute of a play there again anytime soon. Not that Jackson isn’t an inspired choice for Lear...Little effort has gone into creating the impression that all these characters occupy the same space or to establishing with any secure command of temporal logistics where we are at any given moment." Full Review

The Washington Post

"Time — more than a century, actually — really does seem to fly at the Park Avenue Armory, home at the moment to a spellbinding exercise in storytelling, as it can only be done on a stage...Visually, it’s all remarkable...Beale, Miles and Godley, bearing absolutely no resemblance to one another, convince us utterly that they are all cut from the same Lehman cloth; they propel the story with a force that feels aerodynamic." Full Review

The Washington Post

"A new, first-class Broadway version that at times raises its sparkle quotient to incandescence. Director Scott Ellis and choreographer Warren Carlyle apply so much sizzling flair to their revival of the 1948 show that it has restored my faith in efforts to mount golden-age musicals with books that have, well, seen better days...There is that creamy O’Hara coloratura, too, to sing us all into happy submission and apply to this revival an apropos adjective: unmissable." Full Review