A Man For All Seasons (Fellowship for Performing Arts)
Closed 2h 30m
A Man For All Seasons (Fellowship for Performing Arts)

A Man For All Seasons (Fellowship for Performing Arts) NYC Reviews and Tickets

(54 Reviews)
Members say
Absorbing, Great acting, Great writing, Thought-provoking, Intelligent

About the Show

Robert Bolt's Tony-winning drama centering around Sir Thomas More asks a simple question: what price are you willing to pay to keep your convictions?

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Member Reviews (54)

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697 Reviews | 106 Followers
Absorbing, Great acting, Great staging, Great writing, Masterful

See it if you enjoy a well acted and staged drama about a person willing to die for his views. Wonderful dialogue and just a great play.

Don't see it if you like comedy or you only like new plays. Read more

641 Reviews | 127 Followers
Absorbing, Great acting, Great writing, Slow, Entertaining

See it if This is a historical drama about Thomas Moore.

Don't see it if No action, flashing lights Read more

629 Reviews | 231 Followers
Absorbing, Great writing, Profound, Slow, Disappointing

See it if You love this play and/or British royalty dramas no matter the quality of production.

Don't see it if You’ve never seen this play before and don’t want to start with an uneven, plodding production.

567 Reviews | 147 Followers
Ambitious, Absorbing, Great acting, Great writing, Slow

See it if Faithful drama of man preserving his moral compass while attempting to ride the wave of conformity. No jiggering needed here. Dedicated cast

Don't see it if Densely written historical dramas can be dry and lengthy when dealing with internal struggles. Countryman lacks resolve in characterisation.

460 Reviews | 117 Followers
Bolt's drama gets a small but compelling staging

See it if Well-done historical drama with fine performances by Countryman, McCormick, Wong and Dugan. Always engaging with nice set and costumes.

Don't see it if discussions of religion and ethics do not grab you. It can get abstruse and didactic -- but I eat this stuff up. Read more

424 Reviews | 99 Followers
Sterile, subdued, slow, long but not painful

See it if You want to hear a rather pedestrian telling of this compelling history. There is beautiful prose at times but it is lost.

Don't see it if costumes are horribly anachronistic. Set a bit of fun. Staging and direction doesn't add anything--walk on, walk off. No dramatic tension

391 Reviews | 133 Followers
Disappointing, Flat, Needlessly heavy-handed

See it if don’t mind 2D treatment of 3D material. Crisis of conscience of national consequence reduced to a simple, accessible parable of saintliness.

Don't see it if This isn’t painful, but little reason to go out of your way. Not particularly inspired, convincing, or powerful. Kills a lot of time. Read more

400 Reviews | 76 Followers
Absorbing, Great acting, Great staging, Great writing, Thought-provoking

See it if you like good acting. A well written play with ideas -not flashy, no cursing, no nudity, no projections-just an old well written play !Yipee

Don't see it if you find historical dramas boring...this about Sir Thomas More and King Henry VIII of England (Anne Boleyn fiasco). Read more

Critic Reviews (15)

The New York Times
February 4th, 2019

"Ms. Scott-Reed’s uneven staging gets in the way of cohesiveness, though...The laugh lines often stumble, too. That’s despite some nice performances. Mr. Countryman is a warmly sympathetic More, and Ms. McCormick is magnetic...while John Ahlin is vivid and comical in two roles, as the ingratiating diplomat Chapuys and More’s enemy, Cardinal Wolsey. But this production otherwise denies More the requisite worthy adversaries, which throws off the equilibrium and dulls the storytelling."
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Time Out New York
January 23rd, 2019

"There are reasons Bolt’s drama is rarely performed nowadays. Long on talk and short on action, the play is a museum piece, and in this production the museum in question appears to be Madame Tussauds. Director Christa Scott-Reed's approach is painfully traditional. The uneven cast sports faux British accents...Since More's demise is a foregone conclusion, there's little dramatic tension, and the play’s arguments are more compelling intellectually than emotionally."
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New Yorker
January 25th, 2019

"A stirring piece of theatre...Michael Countryman is superb, heading an excellent cast. His Thomas is quiet, kind, witty, fiercely intelligent, and morally, perhaps foolishly, incorruptible. Matters of faith and conscience are a specialty of this company, and Bolt’s eloquent, dramatically paced play examines these issues in a riveting historical context."
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January 24th, 2019

"A middling off-Broadway revival...His story has real resonance in today's political climate, which the audience will easily grasp, provided it is able to stay awake...Bolt's musty, feinting-at-Tudor style belongs to an imagined past, rather than the fleshy reality of history...Matters aren't helped by director Christa Scott-Reed's by-the-book production...At every step, the creative team has cautiously declined to reimagine Bolt's play for a new century."
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Lighting & Sound America
February 1st, 2019

“You will find little or nothing in ‘A Man for All Seasons’ about More's theology and how it informs his life...Bolt's well-constructed, often-witty drama is a kind of manhunt...Scott-Reed's production is more than passable...Countryman is solid, if slightly colorless...If you've seen the likes of Bosco and Langella as More, this production can't help but disappoint...In any case, Bolt takes a most sensible approach, elegantly tracing the intrigues that brought down More."
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February 11th, 2019

"In recent years the play has not fared with such acclaim. A 2008 Broadway revival starring Frank Langella eliminated the narrator character, the play's cleverest device, and was not well received. Now Fellowship for the Performing Arts has brought the play to the Acorn Theatre directed by Christa Scott-Reed, who also staged FPA's revival of 'Shadowlands' last season. Unfortunately, the academic and unimaginative production fails to bring the ideas and the tensions in the play to a boil."
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January 31st, 2019

"A thoughtful, verbose drama...Unfortunately, this off-Broadway production by Fellowship for Performing Arts, fails to capture the colorful fascination of the era or the absorbing philosophical heart of the play...In this production, not only do we miss the economic ostentation of historical extravagance but creative staging...Despite its relevance, this revival lacks the theater qualities to rivet an audience."
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Theatre's Leiter Side
February 1st, 2019

"Invites the usual pseudo-Shakespearean acting…Countryman's low-keyed More lacks the brilliantly crafted, charismatic integrity…of…Scofield's magnificent original…However, Countryman's…conflicted soul is more humanly affecting and down-to-earth…than Langella's pompously dull version of 10 years ago…Scott-Reed's blandly conventional production resembles something one might have seen in a college or community theatre 50 years ago."
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