Victoria Santos is a critic with Stage Buddy. 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.
If you are this critic, please see the instructions on how to add reviews, update your profile, or make changes to your excerpts and scores.
“The marathon production peels back the layers of this immense trilogy with dynamism, humor, and a dinner break…Through distance, sound and space, Target Margin keeps the marathon moving forward without feeling like a scourge…The production, directed by David Herskovits, boasts an incredible performance from the Target Margin ensemble…Suffice it to say that 'Mourning Becomes Electra' will leave you digestively and existentially satisfied.” Full Review
"While the characters and plot teem with potential, the pacing of the play, combined with minimal character development, stifles the storytelling. The world of the play is realistic and the narrative linear, but the conflict of the piece is more confusing than harrowing. However, the conversation had by characters within the play is one worth illuminating and continuing." Full Review
"The score is by turns joyous and heartbreaking. When Sankaram sings as Wiggins at the beginning of the show, she is captivating. In stark contrast to the rabble-rousing musicality of the Southern mill workers, the players recount historical anecdotes seated around a table...These interludes feel at odds with the stomping solidarity of the music. The intermittent use of video recording, another docudrama favorite, drew this writer further from the world of the mill workers." Full Review
"The production embodies the painful dichotomy of the lives it portrays. Breathtaking scenes of the '80s ballroom culture, alive with vogue, club music, and glittery garb are starkly interrupted by plights of poverty and violence...'Street Children' does not feel like a relic of the past...Pia Scala-Zankel’s dialogue is vibrant and uninhibited. Direction by Jenna Worsham gave the piece a musical fluidity, highlighting the gorgeous talents of the ensemble cast." Full Review
for a previous production "Combined with gorgeous movement evocative of the syndrome itself, the play feels like a deep sea dive through Comfort’s mind. Further compliments to director Kel Haney for filling the stage with a whimsical vision that kept the solo performer in the spotlight, but never lonely...The Elephant in Every Room I Enter is not about a man making sense of Tourette’s. Rather, it is the act of a man offering you the story of his life and challenging you to make sense of it." Full Review
"'Bamboo in Bushwick' gives audiences a look at gentrification that is entertaining, educational, and honest...Cardona Jr., in a completely inspired stroke of the pen, creates another play world based upon a real mural in Bushwick...The shared discomfort of all the characters with their changing surroundings is so real, itʼs unsurprising that the writer and director based their sentiments off of interviews with Bushwick residents. Director Margineanu delivers many interesting choices." Full Review
"While Mee’s original text questions the so-called guidelines we humans invent in order to elude bigger existential woes, Nemeth takes this exploration in an exciting new direction...The beauty of this adaptation lies in its balance between harrowing truth moments and fierce tenderness. The ensemble delivers a cynical smirk, followed by a real plea for complicated, serious human connection...Prepare to feel confused, curious, and utterly understood." Full Review
"A dizzying tale of violence and the futility of repentance...Ehn’s signature style of poetic theater is by turns poignant and vexing. Glory Kadigan’s direction graces the play with dynamic storytelling...'Clover' is not a play for the story-driven spectator...While said world contains many beautiful ideas, the discordant execution of these moments leaves the audience feeling a bit lost. Nevertheless, 'Clover' is a pretty picture of ugly and violent times." Full Review
"If your theatrical preferences include sweat, exalted language, spanks, and Daddy Yankee dance breaks, look no further than One-Eighth Theaterʼs production...An ensemble of four performers alternate the roles of Monique and Yvette, and the result is mesmerizing...Irizarryʼs trademark movement punctuates Riveraʼs language in all the right ways. Further compliments to the design team for concocting a nightmarish Vieques of the mind...'The Maids' is by turns whimsical and dangerous." Full Review