Shari Lifland is a critic with Center on the Aisle. 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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"No previous Shakespearean scholarship is required to follow the show’s wacky plot or to have a rollicking good time...Each member of the excellent six-person cast has ample opportunity to shine in solo, duet, and ensemble numbers, ably selling Peter Kellogg’s consistently witty lyrics...While Bill Castellino directs and choreographs 'Desperate Measures' to make the most of its abundant comedic elements, there is a serious undertone to the work." Full Review
for a previous production "Absolutely no previous Shakespearean scholarship is required to follow the show’s whacky plot—or to have a rollicking good time...Lots of crowd-pleasing, honky tonky, country western melodies that create an evening of knee-slapping fun...Although Castellino directs and choreographs 'Desperate Measures' to make the most of its abundant comedic elements, there is a serious undertone to the work: strict, by-the-book power can lead to corruption and bad government." Full Review
"Despite its all-female cast, Lloyd’s Shrew doesn’t lack sexual sparks, thanks to the two powerhouse British actresses who play the Shrew and her ‘tamer.’…Although Jumbo’s performance is appropriately fiery, commanding, and compelling, in this production it is the tamer, rather than the tamed, who is most beguiling. As Katherina’s gold-digging suitor, then husband, McTeer is this production’s shining and guiding light." Full Review
"The topics Diamond addresses in 'Smart People'—race, gender, social and sexual politics—are all significant and relevant. Yet the play fails to completely engage the audience...The characters are so self-involved and self-important that they become blatantly unlikable…Cutting the work down to a more focused, easier-to-digest 90 minutes may have helped the medicine go down more easily. At end of play, Brian concludes, “Life sucks.” Do we really need Lydia R. Diamond to tell us that?" Full Review
"The Public’s new production of Shakespeare’s 'Cymbeline' must have been conceived with two goals in mind: to ensure the audience can follow the play’s famously convoluted plot, and to make the viewing experience as much fun as possible. Happily, 'Cymbeline' succeeds on both counts...Tony-winner Daniel Sullivan made an artistic decision to depict Italy as a Las Vegas nightclub run by the mob. It makes no sense, but it’s great fun." Full Review
"McDonagh’s darkly comic, terrific new play 'Hangmen' gives new meaning to the term 'gallows humor'...The dialogue, in typical McDonagh fashion, is simultaneously hysterical and tragic...McDonagh’s genius lies in his ability to make us laugh while we ponder 'big' issues. He holds up a mirror to humanity—and in most cases, the reflection isn’t pretty...Brilliantly directed." Full Review
"Screenwriters and comedic playwrights Marina & Nicco use humor to make a serious point: for black actors, the struggle for fully realized, non-stereotypical roles remains ongoing and disheartening...One of the highlights in this short, punchy, and powerful one act occurs when the characters realize that they’re caught in an infinite, repeating time loop. Aghast and incredulous, they repeat the dialogue together—the effect of which is simultaneously uproarious and chilling." Full Review
"Well worth seeing, thanks to its extremely talented, multiple award-winning cast and creative team. It is a definite star vehicle that provides an opportunity for Whitaker to transfer his formidable cinematic talents to the New York stage...Whitaker has a natural warmth and charm that serve his character well. His Erie is both believable and touching; as sympathetic as he is pathetic.." Full Review
"Although Roundabout has put together a first rate cast for this production, from the four leads to the supporting characters, the flesh and blood actors are often upstaged by the brilliant stagecraft that surrounds them...Director Evan Cabnet generally maintains an engagingly edgy mood and keeps things moving, until the last 15 minutes or so, when Thérèse and Laurent’s tortured suffering becomes too protracted." Full Review