"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."
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"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."
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"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."
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"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."
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"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."
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"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."
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