A Clockwork Orange (New World Stages) NYC Reviews and Tickets
Show-Score Member Reviews (239)
See it if You liked the movie. You like dystopian tales that are also very edgy. Music is hard hitting and enjoyable
Don't see it if You don't like violence.
See it if you enjoy excellent staging. The movement and dance are fantastic.
Don't see it if you don't like to see violence on the stage. Read more
See it if If you are a fan of the original novel and the movie version and are willing to explore the violent world of the Drools in future England .
Don't see it if You don't like a very sparce abstract interpretation of the story, much of which is done through creative movement and graphic violence. Read more
See it if you are familiar with the book or movie. If not familiar with it, you maybe lost and shocked on the content of the show. Cast is great!
Don't see it if you don't like violent situations played out on stage. If you don't have an open mind stay home. Read more
See it if High concept, very theatrical work appeal to you. Oh yeah, nice looking guys too.
Don't see it if You have can't understand accents or need everything put before you literally. You have no idea of the story or what you are getting into.
See it if you are gay or a woman that wants to see good looking half naked men, and also you like the story.
Don't see it if you are expecting a Kubriesque adaptation with a sci fi retro look or great music. Read more
See it if you enjoy Clockwork Orange and want to see a fresh look at the show. It was intense and at times very engaging.
Don't see it if you aren't a fan of lots of attractive men onstage
See it if You saw the movie
Don't see it if If you can didn't see the movie as u thought it was hard to follow
Critic Reviews (48)
"Davies gives a muscular, menacing performance as rounded as his biceps...We know this is 'A Clockwork Orange,' by the way, because there is a big bowl of big oranges on a platform upstage...After about eighty-five of the not-so-brisk minutes, Mr. Davies yells out 'I’ve had enough!' So have we all, dear sloosy-creechy-grompky boy, so have we all."
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"Spencer-Jones’ highly-stylized staging employs sleekly choreographed mayhem and fisticuffs...The all-male ensemble displays impressive pecs and abs as they go through their perfectly timed gut punches and kicks to the groin...It’s entertaining and flashy, yet Burgess’ themes of free will versus social safety are lost amid the biceps and jetes. It’s an attempt at combining a Chippendales revue with '1984,' but only the former emerges strongly."
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"While the staging is sometimes visually arresting, the meanings are hard to grasp...Davies is ultra dynamic and carries the production, which is consistently very busy as it races through the tale...There are merely nods to such ideas as expressed in the film version, but they are lost in the onslaught of masculine physicality that is highlighted in this staging. The result is loud and extremely busy without emphasizing what 'A Clockwork Orange' is really all about."
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"An exciting, if not altogether realized, queer take on a classic...The story’s details are too frequently lost in a gyrating and sometimes chaotic churn...The burden of storytelling often proves too much for the actors’ bodies alone...Scenes of violence and delusion are played as erotic ballets, which are beautiful to watch and often just as confusing to interpret...The absence of flesh-and-blood women in a story so much about misogyny and violent male desire robs the play of its teeth."
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"The storytelling is muddled, and the much buzzed about violence both gratuitous and mostly vanilla...The film incisively explores interesting and important questions about masculinity, free will, religion...I kept waiting for the play to get beyond its own production values to explore these questions as sharply, but it never does. Instead, we are treated to 90 minutes of aural assault, Jerome Robbins-esque stage combat, and unnecessary toplessness."
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"A work that remains as disturbingly relevant today as it was when it first appeared in the sixties, and as grippingly powerful as any of the versions that came before it. Much of that is due to an unceasingly riveting performance by Jonno Davies...The show’s impact can also be credited to Spencer-Jones, who directs the all-male cast of nine in a potent testosterone-driven blend of extremely loud and belligerent mannered speech and highly stylized movement."
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"A startlingly conceived, brave piece of physical theatre...That nobody is struck in the play does take something away from the implied hideousness of the violence...The disadvantage of a compact cast, no matter how talented, is that the story and characters become confusing...Still, the cast conjure dramatic miracles from thin air...Despite the holes in the text and confusing characterization, there remains something electrifyingly watchable about this production."
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"An energetic, hyperstylized gay fantasia with a cast of muscle boys but never quite achieves the rhythm that made the 1962 novel and controversial 1971 film so involving...Spencer-Jones seems so intent on dazzling us with the hot dancing that Burgess’s message about adolescence and maturity, religion, government control, and behaviorism gets lost. But there are still lots of oohs and aahs from the crowd when the actors really let loose and get down and dirty."
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