Rob Weinert-Kendt

Rob Weinert-Kendt is a critic with The Wicked Stage. 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 (7)
America Magazine

"This puzzling modern-dress interpretation makes a few half-hearted gestures toward contemporary politics...Jackson presides with cool, untouchable hauteur over the proceedings...Yet as irritated and often baffled as I was by this staging, I was seldom bored. I never got a strong sense that Gold, or anyone involved, has a clear animating idea what the play is about...Jackson made me hear the work’s bitterness and thoroughgoing misanthropy with fresh ears." Full Review

America Magazine

“Part memoir, part delightfully wonky speech-and-debate exercise, Schreck’s play puts the narrative of her own life and that of her family in contention with the history of our nation’s founding document. And what emerges...is a visceral sense of lives lived in the shadow of laws...Schreck’s arguments are couched in a lovingly handmade entertainment that can be as funny as it is profound...The exhilarating, all-stops-out debate...Is one of Broadway’s most unlikely emotional highs.” Full Review

The Ferryman (NYC)
Midtown W
America Magazine

“Under Mendes’s direction, Butterworth’s play moves inexorably...from ebullient merriment to blinding clarity...This is a big, long play whose size and length you can feel...But 'The Ferryman’'s occasional longueurs, unfortunately, give us time to notice flaws...The play’s portrait of an idyllic, apolitical Irish farm life threatened chiefly by other Irishmen feels askew...It is a tragic vision, to be sure, but delivered in such a sumptuous feast of a production that it is hard to resist." Full Review

America Magazine

"The flow among music, speech, documentary and drama is expertly handled by the 10-member cast and director Belknap. At its best, the play comes off like a sort of spoken-word oratorio. While the portrait of Malcolm himself is at times disappointingly wooden-it is understandably hard to humanize an icon...It is even tougher to fill a play with sermons, speeches and testimonies and still maintain nuance, suspense, surprise. Gardley is up to the task." Full Review

America Magazine

“Hnath’s play could ultimately use less contemplation and more combat. More a ruminative fugue on familiar themes than a meaty drama or fully satisfying comedy, ‘Hillary and Clinton’ is more appetizer than meal. The play’s studious avoidance of direct imitation of either of the Clintons would seem to promise other compensations—but they remain largely elusive. With actors this strong, under the sharp direction of Mantello, this seems like a wasted opportunity.” Full Review

America Magazine

"A stirring, often poetic piece of protest art, it is being brought to vivid new life...Cummings III has reimagined it as a kind of found text...It is a fascinating way to stage this time capsule of an age ever more polarized than our own, holding it at a remove that often makes its contemporary resonances ring all the louder...The play and its arguments remain easy to follow...Less easy to parse is the way the presence of Asian American actors reframes the play’s central strategy." Full Review

America Magazine

"Both timely and timeless...This revival soars so high and lands so hard...Its inimitable mix of camp, politics, science fiction and melodrama makes its nearly eight-hour run time glide by...Has more laughs than many ostensible stage comedies...Elliott has reimagined the Angel as a sort of junkyard eagle, a feral scrapper held aloft by bodysuited supernumeraries rather than suspended by wires. It is a strong choice, but it skirts the edge of silliness." Full Review