Seth Simons 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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"Perry takes little interest in the life-defining pains he assigns his characters…It is filled with jokes, but the sort of jokes you might expect of late-series ‘Friends’…Quincy Dunn-Baker, Sue Jean Kim and Jennifer Morrison all bring wit and zest to their thinly drawn roles and clunky dialogue…If you plop every seriocomedy into a spreadsheet and calculate the mean, this is what you’ll get. It is also, not coincidentally, a powerful argument for new plays to be anything but average.” Full Review
"Eno has never shied away from the existential or phenomenological. His greatest skill may well be his ability to dramatize them...Emerson's wide eyes and wry tone are a natural match for Eno’s crisp, energetic language, oscillating between calm certainty and sad resignation...Eno's strategy is usually to evoke one emotion and then its opposite, to jostle us from one end of the spectrum to another until we can’t tell them apart...I believe 'Wakey, Wakey' strikes that perfect calibration." Full Review
"It is a delight to spend any amount of time in his thrall. Yet I can’t help but marvel at how closely 'Career Suicide' hews to every stereotype of one-man shows, right down to Gethard reenacting conversations by taking a step to the side and turning his head. He’s an incredibly skilled improvisor, a thoughtful conversationalist and a wholly fearless dismantler of form...For all of 'Career Suicide’s' soul-plumbing honesty, there’s still a tangible barrier between performer and audience." Full Review
"Stefan’s script struggles to keep track of its rather heavy-handed themes…It’s confusing. And it doesn’t feel very honest. Each story closes with a monologue that more or less affirms its jumbled worldview…More bizarrely, most of the action takes place in narration…A Greek chorus can provide valuable context, but Stefan’s descends into befuddling novelistic description...The overall effect is a diminishment of urgency." Full Review
"It’s an intriguing, occasionally frustrating twist to an otherwise straightforward interpretation...The thought experiment is superficial, undermined by the basic dramatic conceit that actors play characters…If there is power to the experiment, and I do believe there is, it is musical rather than cerebral, experiential rather than intellectual...It has the grander effect of turning the company into a chorus, allowing crescendos and moments of chaos that shutter into chilling calm." Full Review
“I’m not quite sure what to say that doesn’t dilute its incredible strangeness and epic verve…There’s a lot going on in ‘Steve of Tomorrow,’ in form as well as content…The play generally declines to give too much information, luxuriating instead in the strangeness of it all, the frisson caused by its various formal elements clashing together...The strange gaps in ‘Steve of Tomorrow,’ the long silences and the fuzzy animations, are as crucial to its fabric as anything that goes smoothly.” Full Review
"The most racially insensitive production I have seen at a major theatre...Though its actors may not be wearing blackface, 'Lord Buckley' is a minstrel show, a recklessly cartoonish misappropriation of black culture...A sleek mess of jumbled storytelling and retrograde politics...This isn’t a matter of speech-policing or political correctness: Quite simply, 'His Royal Hipness Lord Buckley' is an act of cultural appropriation dressed up in a condescending veneer of reverent nostalgia." Full Review
"'Room 4', a devious one-act, is a testament to the truth that serious messages are often best delivered in silly forms...It’s a clever and effective marriage of form to content...Aeed and Tempelsman are sketch comedians skilled at the art of getting in, saying what you have to say, and getting out...Too many plays try so hard to say something serious that they cannot be taken seriously at all. 'Room 4,' quite unlike the casting directors it skewers, knows exactly when to shut up." Full Review
"I wish 'Toast' had wasted a little more time with the existential hokum. The play, which clocks in at a cumbersome two hours, lives largely in the antics of men...The stakes here never surpass that scene, an hour earlier, when Lance gave Walter a death sentence. Though we do gain some deeper insight into Lance, it doesn’t quite distinguish him from any of his colleagues; 'Toast’s' ultimate takeaway remains that these men love to work." Full Review
for a previous production "The result is a disorienting self-reflexivity, a mirror aimed at another mirror: a show about the guy who wrote the show, performing the show he wrote. This is confusing, yes, but what it comes down to is a lack of stakes. Climate change is tense, threatening, dramatic; an explanation of climate change is not." Full Review