Scott Klavan is a critic with Escape Into Life. 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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"While 'The True' doesn’t venture far or deep enough, its tale of upstate New York politics in the 1970s, with terrific performances by lead Edie Falco, and a veteran supporting cast, involves and entertains us for nearly two hours of intermissionless theater...The acting is a godsend to the play and production...Elliott’s direction is on the standard side, with a predictable triangular set-up for most scenes...A well-handled, mostly satisfying work." Full Review
“While the production sometimes lets the text down, the play’s provoking bitterness keeps us watching...There are many strong moments of writing here...Illustrated with beautifully full, specific, and natural language...There are occasional weaknesses...A too-full ending section, wherein the characters, and the playwright, throw everything against the wall...There are direction issues. Blain-Cruz is unaccountably disengaged...Alexandra Socha employs a mannered façade." Full Review
“The opening sequence of ‘Invincible’ has exuberance and humor and the quirky vivid mannerisms of the characters/actors hold our attention. But in its subsequent two scenes, the play expands into dangerous territory, becoming baldly obvious, its clever lampooning overwhelmed by clichéd pathos. The mix of writing and acting styles here—naturalism versus theatricality—is interesting but finally distracting and off-putting.” Full Review
"Moved around stage with precision and theatrical acumen, the cast of twelve seems to be twice or three times the size...Throughout, there is high drive and a total lack of cynicism...Interaction between the players is loud, fast-paced, and mostly amiable...The lack of what might be called drama threatens to make the piece a minor effort...But it must be said, by the close, 'Come From Away’s' simple-in-a-good-way, stubbornly empathic/positive vibe moves us with its integrity." Full Review
"Directed in a subtle, crafty manner and acted with enthusiasm and invention, it’s an affecting, memorable night...Mullen takes the grand risk of being devious and ugly here and while there might be a few too many moments of mugging, there is compelling clarity and strength in the portrayal. As lead Maureen, Aisling O’Sullivan is fiery, brooding, sexy, and amusing...The men give two outstanding, bravura performances." Full Review
"It seems brand new. That observation is an enthusiastic tribute to the piece and its beautifully envisioned and acted revival...Elliot brings her creativity and activity to a work that is dense, burningly intelligent, and metaphysical, yet poignantly down-to-earth...Modern technology and a high budget enables Aristotelian limits to be thrown out the window, and this marrying of wild extravagance to the deepest human feeling makes for an essential Spectacle." Full Review
"The play’s short cryptic scenes are imaginatively staged on a nearly bare set, depicting Nikolai’s remorse and frustrated, finally violent search for justice. It is taut and involving and the actors are strong. The main drawback is the lack of attention to Koslov’s Russian heritage, which, because of its repeated mentions, presumably forms a large part of his motivations...That powerful and meaningful aspect of the man is merely skimmed." Full Review
“‘Oslo’ is polished and authoritative. But does it solve the dilemma posed by the topic itself? Not really…Something’s missing. It could be the writing, which is functional but unspectacular...But that’s not the whole of the deficiency here…Without the Unseen, magic, mystery, call it what you want, the play and its characters lapse into prosaism…‘Oslo’ never convinces us that this kind-of-maybe-not successful negotiation was as rare and powerful as the playwright thinks it is.” Full Review
“There are constant amazing sights...Bobby Cannavale carries off the truly difficult task of convincing us he is the tough, vigorous, and imposing, verbally and emotionally restricted Yank. He and his inordinately skilled and devoted ensemble of fellow actors, work themselves to the bone to bring this nearly century-old play to electric life…To this landmark revival, that uses phenomenal theatricality to express both dreamlike, bitter farce, and very real tragedy...Thanks.” Full Review
"'Heisenberg' is a theory dressed as a play...While charming and beautifully acted, the play relies more on stated aphorisms than moving, dynamic interaction. By resorting to tropes fast becoming standard in contemporary non-musical plays, it becomes remote, and unsatisfyingly predictable...The characters engage and retreat, but no matter how much the actors try to share and relate, the story remains a mild and intellectual one...There is falseness in 'Heisenberg’s' indirect drama." Full Review