Bright Colors and Bold Patterns NYC Reviews and Tickets

"As played with devastatingly funny panache by Mr. Droege himself, Gerry would probably be overwhelming in real life...But at a safe distance onstage, he’s a delight — a slightly exhausting one (10 minutes less would be more), but still a delight...Plays do not get much gayer than 'Bright Colors,' which opened in a spiffy production directed by Michael Urie...This 80-minute evening is essentially an audience with Gerry...I believe the clinical term is 'hot mess.'"
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“80 minutes of classic gay snark...Droege is hilarious as Gerry, causing the audience to laugh loudly and often at the character's antics, which include a number of popular culture references...While the section in which Gerry lets down his guard is needed in a play that would otherwise be too superficial, this portion dragged a bit and could have been shorter. Nevertheless, 'Bright Colors' is an entertaining character sketch. It might not get you thinking very much, but it will keep you laughing.”
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"A theatrical display of comedic genius. Any fan of Droege's other work will instantly recognize his quick wit, less-then-obvious humor, and underlying intelligence, all quietly commanding a seemingly chaotic, over-the-top ship...Hiller gives an awe-inspiring display of acting craftsmanship...The bare bones of his performance have clearly been guided by Urie's firm and expert handling of comedy in basic human behavior."
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“Droege rattles off rapid-fire popular culture references with a coked-up energy that somehow breathes enough to allow his audience to digest and laugh at his outlandish observations...Director Michael Urie has helped Droege nail the pacing, though a montage transition halfway through feels a bit clumsy…Droege teeters on the edge of sentimental with childhood tales of ostracization...but he earns these pauses from breakneck comedy by being vulnerable and truthful.”
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"The tragicomedy of the season...It is to Droege’s immense credit as a playwright and actor that the play is so smooth...An incredible feat: constructing dialogue and performance so immaculately that even nonspeaking invisible roles are full three-dimensional characters...Underneath the hilarity, however, lies poignancy...Gerry is a flawed man. He represents the best and worst of us...Droege creates the world, and Urie colors it. This show is a delight."
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“A hilariously campy night at the theatre...A fearless solo performance with a hell of a lot of heart— though the main character, Gerry, wouldn’t likely admit it...I initially cringed when Gerry spoke at the empty spots where Mack and Dwayne should be, but Droege, who not only stars in but also wrote the piece, pulls the choice off with aplomb — in no small part because of the dazzling buffet of facial expressions at his command from moment to moment.”
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"Hasn't lost any of its biting wit and dark laughs...It's a marvelously funny piece of writing...Hiller nails it time and time again. It's bitchy and uncomfortable at moments, cruel and mean-spirited at times, but underneath all that, there lies a whole lot of raw truth in that discomfort...The talented threesome of Urie, Droege, and Hiller squeeze out every conceivable laugh from this very funny, dark, and engaging material."
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"Fucking hilarious...Hiller is a star. His collaboration with Urie has resulted in a nuanced and hilarious performance, one where the audience immediately trusts Hiller to take us on a ride with him. His performance is so crystal-clear that even when the writing falters, as it gets serious...we’re still hooked because we’re waiting for his next wisecrack to shut the house down. Urie and Hiller have created extremely clear focal points for each of the other on-stage characters."
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"A self-absorbed, ostentatious, and highly opinionated rant...The dialogue of quick witted repartee, consists of insults, abusive humor, and innuendos that are dated and trivial adding nothing to the dimension of the character or movement of the plot...Director Michael Urie keeps the evening moving at a rapid pace which helps hide the script's imperfections...If you (gay or straight) enjoy sarcastic, bitchy gay humor with absolutely no substance this might be a great way to spend the evening."
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“If you don’t like gay-themed plays or one-person shows or are offended by rough language, drinking and drug taking, you can stop reading here. This play is not for you...We never actually see the three housemates, but Gerry converses with them so convincingly that they are vivid presences....The play occasionally sags and is overloaded with pop cultural references...Nevertheless, it is a real tour de force for Drew Droege and for me it was worthwhile just to see him perform.”
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"The return of Droege’s hilarious comedy continues to resonate despite a slightly dated message...Ambiguity plays highly into Droege’s quick tempo comedy, aptly directed by the brilliant Michael Urie, a sharp comedian in his own right. The combination of Droege and Urie is quite possibly why this production moves as swiftly as it does...Droege is a high energy performer who has the ability to make his material fresh and new, fitting for this character."
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"Drew Droege’s uproarious solo portrait of a gay man on the verge...Droege plays one-sided conversations disguised as a monologue opposite empty chairs...What begins as an anxious and colorful kind of frenzy descends with the sunset into something more dour...They may not be your style, but Gerry’s impassioned defense of living in a full range of hues will likely stir something in you, too."
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“Played by the author, Droege, Gerry is a lot of fun to hang out with...Droege’s performance, directed skillfully by Michael Urie is exuberantly comic; his writing has marvelously evocative phrasing...Droege plays only Gerry, but he evokes the others by listening with consummate skill...There are few shows playing now that are as consistently funny, but one hopes that he’s already working on a follow-up—that 'Bright Colors' is merely a prelude to more works as richly comic as this."
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“The reference filled one-man show is essentially a monologue ingeniously disguised as a play...Mr. Droege is simply sensational as Gerry; the performance is a masterclass in impeccable timing and knowing panache. And together with Michael Urie’s flamboyant and insightful direction, ‘Bright Colors and Bold Patterns’ emerges as an hysterical yet poignant portrait of a man fighting for his identity.”
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"Michael Urie has mounted a very smart show here with the aid of Dara Wishingrad’s colorful set. But it is really Mr. Droege’s trium. I’ve never seen an actor do a better job of populating a scene with unseen characters. And I’ve never laughed so hard. In 'Bright Colors and Bold Patterns,' he creates a wry and wacky comic rainbow."
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“This is a comic tour de force that will leave your sides aching with laughter and your heart more than a little touched...The script is whip-smart and deliciously satirical...Droege is a masterful performer with flawless timing...Urie’s imaginative staging hits every laugh but doesn’t ignore the more subtle aspects of the script...Gerry is somewhat of a stereotypical character, but it’s so entertaining and Droege is such a wonderful performer you won’t care.”
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"The uproarious Droege in the caustically hilarious and timely new play...The show ruminates over...timeless struggles for equality...Throughout the 80 minutes, Gerry rips through myriad topics from pop culture to his own gripes...Droege is both dazzling and devastating as he fires off gut-busting verbal abuse like a machine gun, but he works just as hard to showcase Gerry’s lonely and disillusioned personal life. Droege has crafted a show that is both relevant and poignant.”
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“Droege is able to paint a portrait of the other guests he interacts with, even though he’s alone on stage...Droege, is a master of improv...He’s very much like Robin Williams, able to take a scene and make it different every time...He keeps the energy and the laughter at an avalanche speed...Droege shows he’s as vulnerable and sensitive as he is boisterous and over-the-top.”
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"Gerry is the richly tragicomic creation of Drew Droege, the masterful solo writer-performer...Gerry is, he admits, 'a lot,' and Droege draws his multitudes in a sharply observed and lovingly brutal portrait...Gerry guards old wounds of exclusion and heartbreak, dating back decades, that have made him the spiny puffer he is today, inflated with prickly defenses. That's what gives Droege’s show a poignancy beyond its hilarity."
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"This riotous solo play luxuriates in that favorite homosexual pastime: throwing shade. As performed by the witty and articulate Droege, it occasionally has the feeling of a high-concept stand-up comedy routine...Director Michael Urie smartly helps Droege maintain a balance between sassiness and nastiness. He slowly and deliberately pushes the boundaries, testing what he can get away with. He's an undoubtedly messy queen, but one that we can't stop watching."
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"Our man is a bold-patterns type of individual, and the play he inhabits works most effectively when it's showing its plumes...Much of the early part of 'Bold Patterns' feels like Droege riffing...Droege is trying to take us somewhere...In the end, Gerry's protective walls finally come down, and with his faith ever so slightly restored, he faces a new day. As much as we loved the angry reveling goofball, we'll take the hopeful optimist he has become."
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"In real life, you'd flee the minute you saw him coming, but, as impersonated by Drew Droege, this blitzkrieg of a monologue makes for a pretty hilarious hour and a quarter…Although Droege clearly knows this character inside and out, surely Michael Urie's direction is at least in part responsible for the assured pacing, not to mention the seamless transition to the sadder, more thoughtful final passages…As for Droege, he is definitely a talent whom we'll be seeing again."
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"Droege varies his writing well, keeping Gerry on a constant if unpredictable track from skepticism to acceptance, and acting-wise imbues him with a delicious flamboyance that's always rooted in the realistic...Urie's staging is simple and stark, and keeps your attention riveted where it belongs...Despite its momentary weak spots, the play surrounding him does an excellent, entertaining job at rendering him in exactly the adventurous palettes and textures that invitation so openly decries."
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"'Bright Colors and Bold Patterns' tickles your funny bone and shakes you with uproarious laughter. This is a production that offers a peerless evening of entertainment with some interesting, thoughtful twists...Droege is an unforgettable, one-of-a-kind performer and Urie is a directing treasure. Both make this production sizzle and pop. I loved 'Bright Colors and Bold Patterns' for the laughs and revelatory themes. It is a must-see."
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"It is clear that Droege knows from storytelling (as does his director Michael Urie). He is a skillful performer as well as writer and rarely makes a misstep…In between the fun, the funny lines, and the gut-splitting laughs, there are sprinkled some facts…'Bright Colors' is still in its growing stages, and there are a few tweaks to make: clarify a few plot points, snip a bit of text, and sharpen some blocking...Please include me in the next unveiling. Because it will be fabulous and then some."
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"A remarkable piece of theater, brilliantly written and performed by Drew Droege, and crisply directed by Michael Urie...Lest you think this is simply a bitch-fest, let me tell you there’s some (ahem) meat on the bone here too. Droege the writer, wants to explore another side of marriage equality, and he does so quite successfully...Funny, fast, acerbic, but also thoughtful...If you’re interested in seeing the best of what independent theater can offer, don’t hesitate, go see it."
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"Loud, sarcastic, and very, very gay, and Droege is magnificently on-point throughout...As written by Droege, it’s a marvelously funny piece of gay writing: a thesis in gay culture referencing, condemnation, and contemplation. Challenging all kinds of stereotypes with every jab and twist...The writing and performance are hysterical, and skillfully have an undercurrent of sadness, desperation and longing camouflaged with all of his witticisms and judgment."
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"Droege turns his modest, amusing solo turn into something of a bold argument for immodest behavior in an increasingly conventional society. 'Bright Colors and Bold Patterns' is too long...Perhaps as the run reaches its final week, the actor, like the character, is getting carried away. But the turn it eventually takes is worth the wait, helped along by the direction of Michael Urie...Gerry is fleshy, campy, catty, jokey, and, yes, bright and bold, and we’re better off for having met him."
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"You may discover some surprising truths about yourself and your world views thanks to Droege’s beautifully crafted script and Urie’s wise direction...Gerry’s quips are razor-sharp and Droege’s mannerisms and expressions are single-handedly worth the price of a ticket. I’ve always believed that the term 'tour de force' to describe a performance is pretentious and, perhaps, it is. Yet there seems to be no better phrase to define Droege’s capacity to captivate and keep his audience fully engaged."
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"Gerry goes on to ramble on about trivial topic after trivial subject..'Bright Colors' is a character study. That’s to say that about 10 minutes before Droege’s 70 minutes end and after Gerry has sniffed cocaine, drunk any number of margaritas, urinated against a wall and regurgitated, he sobers up and reveals what’s really on his mind...Sure, his exposing a lonely, loveless side is something, but it transpires after many spectators may have long since dismissed the giddily prolix fellow."
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"The upshot is a celebration of non cookie cutter gays who try to avoid the price tag attached to assimilation, while never downplaying their gayness, and Droege performs the piece with brilliant verve and timing, Urie’s direction helping it come off syllable-perfect. The crowd of proud, single gays screamed with appreciation throughout."
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"None of these other characters Gerry is talking to ever fully emerge as people, in colorful detail (to possibly make for an interesting story), nor is there any secret we learn about Gerry or any self-realization that brings purpose to his ramblings....Instead, the comedy is invested in his unapologetic self-infatuation, his outrageous acting out, rather than any cleverness in words or ideas...Some people did laugh....Two men a couple of seats down from me watched with poker faces, as I did."
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