Victoria Ordin

New York City
About:  Victoria Ordin is a writer based in West Los Angeles and Manhattan. Raised in L.A. around film and television, she developed an early appreciation for Broadway and cabaret from her parents, but particularly her father, whose musical passions ranged from classical to opera to Big Band. After studying... Read more Read less
Reviews (15)
Calamity Jane
Midtown W
BroadwayWorld

"The choreography by Vogel is far more elaborate than in most productions of this scale...The songs remain breathtaking--and beautifully delivered...Not every number is a hit, but the vast majority of songs are clever and entertaining...Harmonies are particularly strong in the all-male or all-female numbers, thanks to strong musical direction and vocal arrangements by Lozano...A worthy musical skillfully rendered by a talented, cohesive cast clearly having a ball." Full Review

The Fight
Lower E Side
BroadwayWorld

“Deftly directed by Peter Dobbins, Leaf's meticulously researched play explores the ideological and personal conflicts within Second Wave feminism...Leaf excels at the sustained, careful exposition of concepts and characters through sharp, realistic dialogue...If you're looking for easy answers, in the form of a heroine and a villainess, you won't find them in 'The Fight.' Leaf presents the evidence and lets the audience decide who, if anyone, has a legitimate claim to the moral high ground.” Full Review

BroadwayWorld

“Successfully couches a message about redemption through music in a consistently funny play…It is ultimately the humanity of these women ‘who've done bad’ that emerges from Bradley's well-plotted book and the fine acting of ‘Goree's’ ensemble…The songs in Act II are stronger than those in the first act…The last few songs are anti-climactic…But the ensemble finale is grand, and the ‘The Goree All-Girl String Band’ ends on a high note." Full Review

Old New Year
Harlem
BroadwayWorld

“Unfortunately, all this talent, passion, and raw intelligence finds inadequate outlet in ‘Old New Year’s’ chaotic, disparate stories…The characters are not wholly unsympathetic or without depth...There are simply too many subplots insufficiently integrated for us to become invested in any of them…The standard of coherence may be less stringent in experimental theater, but a production still has to work as theater, and ‘Old New Year,’ sadly, doesn't.” Full Review

The View UpStairs
East Village
BroadwayWorld

"Initially, the conceit...is cute. But the gimmick soon wears thin...The play is not without value. Just don't expect nuance. And at one hour forty-five minutes and no intermission, it's a tough slog. Out of sixteen musical numbers, only a handful are musically compelling...Still, though uneven and often heavy-handed, 'The View UpStairs' has some nice moments. Given the important subject matter, one just wishes it worked better as a piece of art." Full Review

Broken Bone Bathtub
East Village
BroadwayWorld

"As with all immersive work, the experience is fluid. Theater is a living art form to begin with, but when you add intensive audience participation and change venues nightly, the experience is even more changeable...Ultimately it's O'Loughlin's open and compassionate heart that gives meaning to 'Broken Bone Bathtub' and inspires others to share freely about their own struggles...'Broken Bone Bathtub' is brave, funny, and surprisingly uplifting." Full Review

BroadwayWorld

"I still don't have a handle on the project, but it doesn't matter. Gideon's profound good nature immediately draws you in and holds your attention. He is an innocent, wise troubadour with a peaceful if wildly eccentric presence...To call 'My Name is Gideon' unconventional hardly captures the imaginative power of the work in (perpetual) progress...If this sounds crazy to you, you're not alone. But Gideon, who lives life on his own terms, makes you believe in him." Full Review

BroadwayWorld

"The play just isn't all that funny, though the audience laughed throughout. It's objectively depressing, albeit all too common, family drama…The play has some very nice moments…The last third of the play is the strongest, though one might say that the ending is too pat…Great art happens when the personal becomes something greater than itself. That isn't the case with 'In the Car with Blossom and Len,' which feels a bit like it was written from a therapist's notes." Full Review

BroadwayWorld

“Hartstone has such a fine ear that she skillfully mimics not only the vocal contralto of one of her heroes--Judy Garland--but captures the speech of the era...Evie's tales about mistreated Hollywood actresses are deeply resonant...'The Girl who jumped off the Hollywood sign’ would be impressive if written by someone other than its star. But Hartstone's writing is as powerful and nuanced as her performance...The one-woman show nicely directed by Fusco was captivating from start to finish." Full Review

BroadwayWorld

“The well-written book hits the series' main plot points...The singing is uneven, but the uniformly strong acting makes up for these vocal deficiencies. And while the show occasionally veers into slapstick, the parody remains at a mostly even pitch...The final number gets at the rare and magical bond that develops between actors and fans on a show like ‘Friends’...Skillfully directed (and choreographed) by Paul Stancato, 'Friends! The Musical Parody' is an entertaining trip down memory lane.” Full Review

Raisin
Queens
BroadwayWorld

"One hopes the production will restore 'Raisin' to its rightful place in the musical theater canon—not because it takes up relevant social and political topics (which it does), but because it's a fine show with compelling music and lyrics, and sharp, elegant prose...The powerhouse acting distracts you from the the tinny, thin piano, but mics would have shown off the performers' voices...'Raisin' achieves its end: the arousal of empathy and commitment to racial and social justice." Full Review

God of Vengeance
Midtown W
BroadwayWorld

"'God of Vengeance' is a large, sprawling text, full of complex characters whose motives invite debate. In this, Asch's play embodies the best traditions of Judaism, along with the brokenness he sees in Judaism's most extreme forms....The New Yiddish Rep approaches the play with all the rigor and sensitivity of a Rabbinic scholar poring over a verse of the Talmud." Full Review

See Reverse
Midtown W
BroadwayWorld

"The ten pieces in 'See Reverse' are ambitious. Some have quite intricate narratives, not all of whose plots I discerned...But the show's power doesn't depend upon full comprehension...Part of this joy derives, I believe, from the surprise and delight that finely articulated gestures can transmit so much meaning, which is to say, content. In an ethnically and racially polarized world, it's reassuring that people can recognize and identify with common emotions and situations." Full Review

BroadwayWorld

"Even by the yardstick of deep or edgy psychodrama, 'Holiday House: Christmas Bends,' is bafflingly incoherent. Weller's astonishing physical beauty and dancer's physique impresses one from the moment she rises from the ground...It's immediately clear that Weller has talent for miles. Still, precious little in this play makes sense...It simply does not work as a piece of storytelling." Full Review

A Dog Story
Midtown W
BroadwayWorld

"'A Dog Story' is that rare musical comedy that manages to be sweet but not cloying, accessible but not banal, and light but not unsubstantial...None of the 'types' are what they seem....Within the formula, then, are some interesting deviations in character as well as plot...The acting and singing are strong throughout...'A Dog Story' is a clever, upbeat play beautifully executed in a chaotic and sad time for most New Yorkers." Full Review