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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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.

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.

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

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

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

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

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

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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Wolf Entertainment Guide
January 30th, 2019

“Bolt’s superb play...The role of More in the current revival...is in the hands of the excellent Countryman...Scott-Reed succeeds in stressing key aspects of Bolt’s play despite the small scale of the staging against a background of minimal scenery geared to suggest the 16th century period. This may be a small production, but, acted and staged with intensity, the play still speaks to us.”
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January 27th, 2019

"An exceptional play about the value of one’s life and the hope of death when that value is removed...A superb iteration of Bolt’s work which posits interesting themes...The playwright’s brilliant work written in the sixties seems especially trenchant in our times...In Countryman’s rendering of More’s traits and interactions...we understand the greatness of More’s mind and character...With this production, the verdict is a resounding bravo."
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February 13th, 2019

“A superb revival...The pacing of the two-and-a-half-hour show matches Sir Thomas’s approach to life, dignified and steady; it’s a talky play, but it never gets bogged down, since the words are so exquisite. The cast is uniformly excellent...In addition, Scott-Reed doesn’t force contemporary relevance onto the narrative, as references to fake news, governmental corruption, and lies arise naturally in the audience’s mind; explicit references would only get in the way.”
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Reflections in the Light
February 14th, 2019

“Here's the ‘religious’ show you want to catch on stage while you can...Very good staging...The production is well done on Stephen C. Kemp's mood-creating set with strong performances across the boards. The tale, set in the 1500s seems unnervingly relevant in 2019 America where it becomes apparent that not much in organized religion or politics has changed.”
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January 25th, 2019

"Bolt’s 1960 play will not resonate among everyone, of course: merely those who have principles...There is some debate over the historical accuracy of the play, but the story Bolt tells remains deeply stirring...Countryman’s More, a balding, slight man, lacks the vigor or the authority of Scofield’s More, but his quiet poise serves the material well enough. Cerveris, though, doesn’t invest Thomas Cromwell with nearly as much wicked opportunism as the character requires."
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January 24th, 2019

“Bolt’s engrossing drama...Is not easy to pigeonhole...The premise is simple...The play is smart and complex and it is served by a cast that across-the-board excellent. It is led by Michael Countryman, who plays More...There is nothing beatific in his portrayal of this future saint and that makes his tragedy all the more compelling...The play may be almost 60 years old and about events that happened almost 500 years ago, but it could not be more timely.”
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February 19th, 2019

“A clash of church, state and conscience drives Robert Bolt’s ‘A Man For All Seasons’...A thoughtful production...Though no mention of 2019 America is made (or needed), this showdown of brute power, government bureaucracy and principle evokes echoes throughout history...A universal tale...’A Man For All Seasons’ makes its case, balancing the rich complexity of ideals with the stark options of choice.”
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