Richard Patterson 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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“Despite its delirious pleasures, 'Kink Haüs' feels occasionally too aware of its own edginess...Montana’s intentions are noble, but the piece...lacks genuine edge despite its provocative title...Though the show has the guts to push an audience’s boundaries, it lacks the teeth to truly leave a mark...There’s work yet to be done before ‘Kink Haüs’ lives up to its full potential, but in the meantime there’s no downside to watching this talented group of kinksters do their thing." Full Review
"This 'Lear' feels like somewhat of a hybrid, torn between its traditional impulses and more modern touches. Fortunately Sher and his talented castmates keep the focus squarely on the text through their performances. Their contributions make this an affecting and ultimately rewarding production despite its occasional missteps, well worth its three-plus hour running time for the pleasure of savoring a most excellently-acted, handsome production." Full Review
for a previous production “A dragsterpiece: a topsy-turvy full-throttle journey through hell (don’t worry—a colorful, funny hell)...It’s impressive to see what she’s accomplished here with this show—not just as a drag queen, taking on the live performance aspect, but in designing videos and puppets, and as a writer crafting a coherent, even moving, script. Amongst a seemingly endless sea of 'Drag Race' graduates, DeLa has now proved herself right around the top of the pack, at least with this show." Full Review
"It’s a play that’s likely to prompt lively post-show debates about religion amongst audience members but its fixation with ideology also means it comes across a bit coldly...Some audience members will be willing to go on that intellectual ride regardless of its lack of emotional punch, but others will find themselves missing a bit more peripheral detail to support the ideological quandaries that Hnath presents in his ambitious piece." Full Review
"A dreamy, vortex-like quality presides...extends beyond the physical production to the performances, especially Lesley Manville’s feverishly brilliant portrayal of Mary...Considering the nearly three-and-a-half-hour running time, director Eyre keeps scenes moving at a sprightly pace as characters lash out at one another and retreat to their respective corners...If there’s a reason to see this 'Long Day’s Journey,' it’s to watch Ms. Manville transform." Full Review
"Though the play lacks one of LaBute’s signature shocker twists, it still has a few smooth curves and pivots in its plot...The biggest unanswered question hovering above 'All the Ways,' though, is 'Why?' Why has LaBute chosen to write this play now?...Why is this character speaking now, and to whom?...Judith Light and Leigh Silverman’s sensitively directed production provide compelling reasons to listen, but the story being delivered doesn’t convince quite so strongly." Full Review
"The play’s excessive use of one-sided phone conversations renders inert a play which otherwise might have had promise...Pacino settled in nicely and ripped through Mamet’s crackling dialogue...There’s still some fleeting magic in Mamet’s pen — including a few firecracker lines that really land…Perhaps the most deliciously terrible ending ever seen on Broadway, not necessarily dramatically implausible but written and directed with giggle-inducing ineptitude." Full Review
"Callow’s performance is a real triumph. Aside from casting a trans actress in the part, a better actor could scarce be found to embody this complicated woman...What’s most important here is Callow’s performance. It demands to be seen. Where some male actors might shy away from playing a woman, Callow isn’t afraid to embrace his feminine side." Full Review