See it if Never can go wrong with O'Neil. Very simple stage, very good directing and acting. Main character is outstanding as is the cast.
Don't see it if Gets slow at times, must like O'Neil and his style of writing. If you don't like deep, oft depressing stories.
See it if you are an O'Neill fan and prefer intimate stagings of his work. The set is simple but effective.
Don't see it if you expect cohesiveness in an ensemble. Anna's characterization felt much too contemporary in what is supposed to be a period setting.
See it if you want to see a classic stage play done well. The staging and set are top rate.
Don't see it if you are bothered by accents or lays with sailors in them.
See it if you enjoy seeing a really well-done revival of a drama.by O'Neill. All the elements worked well together and I truly enjoyed it.
Don't see it if Can't think of a reason not to see it.
See it if You want to see masterful actors in a classic O'Neill play. Performances were powerful; staging was good.
Don't see it if Irish accents are a problem for you. Did miss a bit of dialogue but it wasn't enough to detract from wonderful night at theater.
See it if Like well performed drama
Don't see it if Don't like O'Neill characters. Play is a bit dated
See it if you enjoy O'Neill's plays or you like shows with complex characters that make you think.
Don't see it if you can't follow a complex narrative or have trouble understanding accents.
See it if You enjoy seeing characters interact. The three leads are great, and played off each other well.
Don't see it if Parts dragged. You don't like plays without much action. It picks up significantly in the second act.
"Working Barn Productions’ earnest re-imagination of Anna Christie brings the Eugene O’Neill classic up to date…Therese Plaehn brings out the strength and vulnerability of O’Neill’s multifaceted heroine…Plaehn and Chase’s easy chemistry makes the love at first sight believable. Chase’s presence is electrifying as Mat Burke…Working Barn's production makes an excellent case for this piece's continued relevance."
"Plaehn has a strong stage presence...Aiello and Johnson convince and amuse in their supporting roles while D’Ambrose plays beautifully...Chase’s Irish accent often wanders too big an ocean and it appears to distract him from being altogether present...Towards the end of the play, there is too much demonstrative melodrama as the two men react to Anna’s confession, which raised titters from the audience. This aside, Richards' handling of 'Anna Christie' anchors a steady balance."
"The results are mixed...The production remains mostly faithful to O’Neill’s original script, save Plaehn’s interpretation of Anna...In quieter instants, her interpretation clashes with the character’s actions. Plaehn’s Anna might possess a more updated psychology, but her motives no longer make much sense...If only fate had led to a production that better connects the outmoded morals of the past to the ideals of today."
"In addition to embodying the vernacular poetry of O’Neill’s language, the actors capture the human, often comically contradictory traits of characters’ personalities. D’Ambrose’s Chris is both worldly and naïve, Plaehn’s vibrant Anna shows the scars of a hardscrabble life along with the angelic purity that causes Mat to mistake her for a mermaid. The show’s impressive production values also help to deepen the mood and advance the story."
"While some of the text does feel dated in these actors’ mouths, the themes that were so cutting edge in 1921 are still surprisingly, or perhaps depressingly, relevant...Combined with a slight directorial confusion around Anna’s objectives in her relationship with each man, this production has a slightly muddled point of view. Chinks aside, this production is effective, and manages to find the truths in its world."
"A thoughtful, atmospheric revival...Anna’s decision to tell both men the truth about her past is the tortured heart of the play. O’Neill doesn’t victimize her; she accepts the consequences of her actions...Director Richards and the actors keep the outbursts to a minimum. In doing so, Anna is neither a suffragette nor flapper of her era, but an independent woman...Therese Plaehn’s Anna succeeds at being both plain-spoken and vulnerable."