Consider the Lilies NYC Reviews and Tickets

"A sprawling shambles of a play. It is sorely in need of serious pruning, shaping, and revision…Kudos to Austin Pendleton and to Eric Joshua Davis for their efforts at breathing life into their respective, if poorly developed, characters. But there is way too much repetition, tangential conversations, pointless meandering episodes, and odd bits of business, so that the time drags on considerably until the play finally comes to its end more than two-and-a-half hours after it began."
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"Fitfully entertaining but ultimately exasperating, Stuart Fail’s unwieldy drama 'Consider the Lilies' is enlivened by the venerable Austin Pendleton’s captivating performance...Fail has a facility for lively dialogue with numerous setups and punch lines that land. However, there is also a lot of stilted exposition and lengthy, stiff philosophical discourses...Fails’ direction is straightforward but doesn’t inject much energy."
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"While Fail has a talent for dialogue and witty one-liners, the first three-quarters of his play lacks action…For my money, the play is worth sitting through if only to see the excellent scene between Collier and Pendleton. But Fail would do very well to take another look at his script in order to rid it of much that feels extraneous, including three whole characters and at least an hour of run time. As it stands, Pendleton’s graceful performance and million-dollar smile is worth every penny."
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“If ever a play needed sharp direction this is it; instead, the play's structural weakness is exaggerated by Fail's egregiously sloppy staging on a bland, shabby-looking set of beige apartment walls, amateurishly designed and even more amateurishly lit by S. Watson...Fail's pacing is ragged, his actors seem to be blocking themselves on the fly, most scenes lack dynamic tension, there's a laughably phony beating, and, sadly, much of the acting is inadequate.”
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"Fail flirts with a lot of subtextual plot possibilities, but it all left me puzzled or disinterested. Still, Pendleton amuses as always and newcomer Peter Collier, who appears as a wise-ass, aspiring, and punkish young artist in the second act, had genuine spark."
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"Austin Pendleton didn’t disappoint here, but he’s the main element of interest…The characters are given to repeating in claustrophobic loops rather than advancing. Themes are introduced such as abandoned children and uncaring parents, and new characters are brought in to keep the drama going...But the situations and language veer toward commonplace (the play could benefit from a red pencil.) The resolution is arbitrary, whether you see it as positive or negative."
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