“The production gives little credit to the people around Jess. They mainly slide into two-dimensionality in service of hurting her and failing her. This undermines the comedy and the heartbreak possible in these relationships. By the time we get a few moments of redemption late in the play it is too late...The way we live on past ourselves digitally is both cruel and a gift. It's a timely idea, worthy of investigation, and one that you can see the playwright understands and grapples with.”
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"Plays surrounding the themes of family tragedy and social media can both come off as a bit hackneyed. The glory of Kazamel’s work is this: it combines both with great success…Sullivan receives from her acting partners and broadcasts her misery with heartbreaking openness…Kazamel’s direction ensures that both sides are well-represented and the true villain is not easily defined. Her decision to do this makes the show’s job harder, but the message infinitely more thought-provoking."
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"The three most impressive aspects of this production are the quality of the script, the top-notch cast, and the seamless manner in which these two elements combine to form incredibly authentic character relationships that resonate with truth in every regard...The bulk of the praise is reserved for Kazamel–it’s hard to construct a one-hour narrative that feels complete in its dramatic structure, not truncated or rushed. None of the 60 minutes of 'Canuck Downunder' are squandered."
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