Ray Morgovan

Ray Morgovan is a critic with Off Off Online. 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 (31)
70
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"Even though Kaufman sets 'Sagittarius Ponderosa' squarely within an Asian-American family, each of these stories is universal...Katigbak’s portrayal of the devastated wife is extremely touching...The challenge with Kaufman’s writing in 'Sagittarius Ponderosa' is the short, stilted scenes, which seem more appropriate for television than the stage...With audiences on two sides of a central playing area, it doesn’t lend itself well to scene changes." Full Review

40
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"Fearless and weird...There is never enough story to know which end is up...It is all just odd and disjointed...The play tosses out interesting snippets of New York history like popcorn, but the story never develops beyond witnessing the madness of a man who dresses like a homeless King George, his nonsensical interaction with Rip Van Winkle, or his hiding from his wife...Without more backstory and some continuity, it’s going to take a lot more than pickles and beer to clear the haze." Full Review

75
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"Director Julián Mesri invests the script with a tempo that draws the audience in...Stolzer’s script, with an ample amount of intrigue, and Mesri’s keen staging keep everything moving smoothly until the last five minutes, when it all just sputters...Even the actors, who until this point were spot-on, appear lost...For 65 minutes, or 92% of the time, 'Storage Locker' and its quirky, delicious contents deliver." Full Review

15
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"Luckily for Cusick, the director of her new play hired very good actors; they are the saving grace for a rambling and extremely shopworn script...'Austin' is riddled with narratives, most of which are poorly thought out...Setrakian’s staging for the most part is passable. However, he hasn’t helped the writer clear up some of the clumsy story lines, and much of the blame for the play’s failure belongs to him...Even with the quality of the actors, there isn’t a character worth caring about." Full Review

80
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"Adolf Hitler and the Nazis created an extraordinary propaganda machine and manipulated a nation; 'Good' shows exactly how it was accomplished...The overall set design is inventive yet simple...The lighting is sketchy, too often leaves the actors in the dark, and feels like an afterthought...Frankly, the great challenge for director Jim Petosa’s heart-wrenching revival is the backdrop of politics 2016." Full Review

85
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“Ridley is known for examining the darker side of humanity, and ‘Radiant Vermin’ is no exception...Between Ridley’s fantastical writing, Mercatali’s direction, and Verey and Johnson’s acting, numerous neighbors come to life in a frenzy of mime, dialect, and comedic timing...Verey and Johnson are the heart of this fast-paced black comedy, delivering Ridley’s satiric dialogue...If this is the best Britain has to export, long live Brits Off Broadway.” Full Review

45
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"Hoffman’s nonlinear approach to memory issues works well…However, because none of the story lines is linear, they prove so confusing that the ending, when it comes, is unexpectedly abrupt. Both playwright and director allow the script to get lost in an abundance of stories that never dig deep enough...Director Hill uses the actors well to create a fluid expression of time against David’s memories weaving in and out, but in the end 'A Persistent Memory' still feels like a series of vignettes." Full Review

80
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“A tightly written tour de force for Molly Vevers…She is quite good in this challenging role…Vevers is too fine an actress and the dialogue too complex to incorporate silly moves and allow for a nonsensical set design—it’s unnecessary and distracting. ’Ross & Rachel’ is strong and powerful, and it demands attention, and Vevers brings the words alive...She has a manner and a presence reminiscent of fine actresses from another era. This is her era, her time.” Full Review

85
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"'This Time' is an extraordinary example of juggling multiple timelines with exacting deftness. The storylines weave in and through one another, much like a memory comes in and out of consciousness...Harrington is brilliant...The direction by Fahmy keeps the action moving smoothly between decades...The end of the play is abrupt...Greene’s storytelling is compelling and fresh, with engaging narratives." Full Review

60
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“As much as it wants to break the audience out of being shocked by nudity, the script doesn’t measure up...For so many things like these that are right about 'Body,' there are too many more that don’t line up...A stronger hand to cut extraneous dialogue, direction that needs to shave off the two extra endings, and even a lighter touch, giving actors time to enjoy the comedy when it lands, are just a few starting places that might help bring ‘Body’ into alignment.” Full Review

85
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“Director Hal Brooks unbridles five actors in ‘The Dingdong’...He propels it even further into the absurd by having those five actors bring to charming, boisterous and nuanced life 12 distinct characters...George Feydeau is one of the most famous writers of bedroom farce, and Mark Shanahan’s adaptation is a remarkable homage. Witty banter, along with exaggerated physicality, are at the heart of 'The Dingdong.' Even the most pursed lip might be cajoled to laugh out loud.” Full Review

90
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"Three actors recreate with great hilarity and intimate reverence the story of Frodo, Sam, Merry and Pippin…Abeel, Schaefer and Zambrano, along with Busbee, in the style of the golden age of radio, refreshingly deliver 'Lord of the Rings' with extraordinary deference to the art of great storytelling and comedy…This is a live-action radio show at its finest, and the audience loved every minute due to the comedic timing and expressively talented actors." Full Review

80
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"'Light, A Dark Comedy' is a clever and smartly written play wrapped neatly with an amazing array of costumes, puppetry, lighting and media...The story languishes in the middle and it might be a tough sell for children due to the length and heavy subject matter. However, the detail in the story woven by Steinbruner and the tightly choreographed production is incredibly engaging...With the extraordinary direction of Kapstein the cast utilizes every opportunity to nuance 16 characters to life." Full Review

90
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"'Jupiter' is a well-thought-out, cutting-edge play…It is clear that they not only embody a worldview but also deliver it with extraordinary purpose and aplomb. Pickard’s script is powerful and concise...The play/performance progresses with such deference to the experience of the audience that the focused collaboration produces its intent boldly and with great detail…The deeply moving 'Jupiter' delivers its message in an insightful and powerful evening, and beyond." Full Review

80
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"Kevin Confoy took complete advantage of the brisk dialogue with his direction by giving the actors the space to move about and the motivation behind the written words…Although not an endearing play, 'Creditors' is captivating and full of well-crafted characters. Stone brings the middle-aged woman not wanting to be considered old, and longing to be desired, to full breadth. The young, tortured artist and husband, who really does love his wife, is fully present in Tyson." Full Review

60
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"The fast-paced dialogue is handled aptly by three, age-appropriate actors...While the overall direction of 'Allen Wilder 2.0' by Matt Morillo is exceptional, the challenge is in his script, which brings little that is new to the conversation of self-worth, family dynamics, aging, abandonment, parental divorce, sex, fear of intimacy, and the longing for approval." Full Review

85
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"Fans of his 1996 hit rock musical are likely to thoroughly enjoy the Keen Company production of 'Tick, Tick… Boom!'...The actors, backed by four extremely talented musicians, successfully deliver Larson’s material song after song...Under Jonathan Silverstein’s direction, Blaemire’s talent is central to the production; however, it is Renée who owns it. Silverstein’s staging is fun—distinctly and expressively building the anxiety of turning 30 to a rich crescendo." Full Review

45
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"On the one hand, it is a unique combination of original music, puppetry, video, and live action, yet on the other it comes across as disjointed and meaningless...The audience is seated on a platform that moves left or right, and sometimes rotates completely, giving the performers time to set up the next vignette on the perimeter. The challenge of this production is that it is a series of quirky, random scenes with little, if any, cohesiveness." Full Review

55
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"Director Tara Elliott keeps things moving along smoothly. However, she was not able to elicit from the actors the subtleties necessary to portray Fred and Emma convincingly…Furthermore, Mondelli’s script is underdeveloped. Too many times the conversations come off as inane cocktail conversation…Surprisingly, the play resonated more the next day than immediately after. Maybe the dust had to settle on too much unfinished, stilted dialogue to get to the heart of 'Toscana.'" Full Review

90
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"A powerful and thought-provoking drama…Director Heyer heightens the emotional and often violent physical relationship between North and Abdi. By design, the tension is palpable…It is wrenching and skillfully presented, with acting that is complete and detailed…Credit is due Cassini for what must have been exhaustive research, resulting in a script that is as tightly crafted as a century-old Berber carpet." Full Review

25
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"'Here I go again, I hear those trumpets blow again. Me on my throne again, Taking a chance on love!' Sadly, the comedy of 'Here I Sit, Broken Hearted' never rises above these lyrics; it misses the mark on practically every level. The saving grace, beyond the short 60-minute length, is the pure joie de vivre of the cast…If the actors suspect that the material isn’t funny, current, or satirical, they never let on. Purely for trying to make it work they deserve kudos." Full Review

40
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"'#liberated' is co-directed by Rachel Karp and Jaki Bradley—it’s almost as if one directed the first half with the other directing the second. There are some good comedic moments early on, although not sustained, and it’s easy to see that the women enjoy each other...'#liberated' seemed to want to say something profound. Unfortunately, it never said enough. It did not include women of color, or create a powerful, lasting conversation." Full Review

60
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"The music is recorded, but the singing is live and jumpin’—the party is in full swing...The many threads of the story require a suspension of disbelief...Other aspects are also less than credible...The music is where the juice is...While it’s evident director Kristic brought a lot to the production, some editing of the extraneous stories is needed...'Cherchez La Femme' has some really good bones—just a few too many to give it the long run it deserves." Full Review

85
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"Given the somber plot, 'Cal in Camo' is often surprisingly humorous, with actors who reach deep to pull out emotionally charged performances…Relish the amusing moments, because 'Cal in Camo' is a gut-wrenching play…'Cal in Camo' is meant to be uneasy, and director Adrienne Campbell-Holt makes sure of it. The dialogue is fast and the narrative hard, begging to be heard...The camouflage is ripped aside and the human spirit is revealed, bruises and all." Full Review

80
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for a previous production "A delicious observation of a well-lived, if secret, life...Writer and director Travis Russ has crafted an engaging script, assembled a trio of charming and vibrant actors and a production team that bring to life a vision of the artist, brimming with creativity...There is a moment or two near the end where 'Gorey' falters and seems unsure where it should end...For the greater part of the evening, 'Gorey' is smart and cleverly crafted." Full Review

90
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“The hour-long production is rich with symbolism, European and Asian sensibilities, and movement choreographed to haunting original music...The word creative is particularly limiting if used to describe Meyyappan, especially given the way he sees and delivers life onto the stage...What becomes clear is that he is a master storyteller. Expressing all of these emotions while conveying complicated humans without words is what propels ‘Butterfly’ to soar.” Full Review

90
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"His affinity for the material, as well as the struggle and heartbreak of people, is breathtaking...Davidman’s skill reaches well beyond his writing. His talent as an actor, adept at the nuance and complexities of characterization, is thoroughly engaging...There are many profound and wrenching moments in the 90-minute 'Wrestling Jerusalem.'" Full Review

75
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"Dattner is smart, funny, entertaining, talented and full of energy...The confluence of a great writer with a talented actor can bring out the depth that comes with the desperate actions of an addict wrapped up with self-effacing humor. Dattner’s range remains in the realm of stand-up, and make no mistake she is quite funny...While she is quite adept at choreographing her use of a microphone, it got between her and the audience, limiting her range of emotion." Full Review

80
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"Gilde has done an exemplary job of capturing the essence of this experience, and, as the director, creates the space for four talented actors to bring it to life. It is a detailed re-creation that, without nuanced performances, could easily come off as flat. There is nothing new, there are no great surprises and no profound personal breakthroughs... However, it’s the precise manner in which Gilde wrote the dialogue, directed the actors, and how they delivered it that enhances the drama." Full Review

85
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"Heffernan has molded her actors into an effective ensemble...As a large, tight ensemble piece, each actor plays very well off the other as scenes meld seamlessly from one to another…From the opening processional to the final shot, this is a vibrant production with a dedicated and talented cast. Revenge, in any century, may be sweet; however, the ensemble of 'Monte Cristo' is rich with talent and proves it." Full Review

70
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"The playwright crafted an ensemble piece in 'The Gambler,' and with the direction of Karen Lordi-Kirkham, we are invited to experience a vivid ensemble, led by the affable Alexi, played by John Cosentino…The details are where the script becomes uneven, lacking deference to Russia and St. Petersburg in the 1860s." Full Review