See it if You appreciate dystopian visions subtly presented by an excellent cast. Wonderful writing by Wallace Shawn. Disturbing and timely.
Don't see it if Don't like to see downers and don't want to think of what we can sink to while maintaining a civilized facade. Warning -- it's depressing.
See it if Interesting show about a dystopian future that sounds all too plausible. Some nice performances.
Don't see it if Too much Matthew Broderick. The show opens with a 15-minute monologue by him. I nearly fell asleep. No sure what the point was.
See it if you wish to see M. Broderick play M Broderick for the first 10 minutes. The set is wonderful.M.B is superb in that time period (see more)
Don't see it if Talent is wasted. The premise is not realistic.. The 75 minutes is more like 100 minutes (should be an intermssion but alas it would (see m Read more
See it if you are looking for an intelligent evening at the theater. Cleverly addresses a futuristic America that is actually closer than we think.
Don't see it if you don't like plays that are fairly talky and lack action.
See it if If you woud like an insider's look at theatrical folk. An intimate, casual look at life in a dystopian future. Great for fans of the leads.
Don't see it if If you don't like very talk-y shows (it's aptly titled), this is not for you. A bit heady at times and ultimately dark.
See it if You want a show that has several interesting - albeit confusing -layers. It is definitely a thought-provoking experience.
Don't see it if You're expecting a delightful night of theatre. Very talented actors but the characters don't pull you into their world.
See it if You want an intimate experience with great actors; you feel like you are in the living room with them.
Don't see it if Not a great play, wanders...
See it if you like long monologues .It is very dark.The theme becomes apparent later in the production.
Don't see it if You want to be able to relate to the characters.
“The art of dystopian drama is crafting a reality that feels familiar to the audience, so that we can easily draw a line between our world and the one onstage. Shawn has created a world that is uncanny, especially for anyone who frequents the New York theater...Shawn seamlessly blends deathly serious themes with his unique brand of absurd humor…'Evening at the Talk House' isn't really a disturbing look at our possible near future, but our very real present.”
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"The stellar cast includes notable names...Under Scott Elliott's direction, the 100-minute piece plays out as a 21st Century twisted version of the kind of leftist conversation that once dominated the corners of Greenwich Village's basement bars and coffee houses...In 'Evening at the Talk House,' the danger of live theatre may have been what led to its demise, and the power of populist fascists may have led to the demise of those who would passionately build it up again."
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"A play like 'Evening at the Talk House,' with its dystopian vision of America tomorrow or the next day, usually hinges on how well the playwright draws on the details of how we live right now, and it must be noted that some of Shawn's ideas simply don't resonate...Still, 'Evening at the Talk House' casts a spell of creeping dread, aided by a wildly varied cast...The director, Scott Elliott, handles the diverse cast well."
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"Shawn's sleight of hand in guiding us from organic discussion to enforced silence is a bewitching magic trick that Elliott has staged at once subtly and to the hilt; both artists prevent us, like the characters, from seeing where we are or where we're going until we're too enmeshed to escape...The problem, though, is that in the end, all the pieces don't come together...Worse yet, at least at the performance I attended, most of the actors were still finding their ways into their parts."
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"It is a very verbose, long-winded affair giving an excellent cast made up of such veterans as Matthew Broderick, John Epperson (aka Lypsinka), Jill Eikenberry, Larry Pine, Claudia Shear and Michael Tucker not much to do. Shawn has written the best role for himself but that is not saying much. While the play may be meant as a cautionary tale, it is also overwritten and self-indulgent. Long before you realize where the play is going you may have lost interest due to all of the explanations."
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"Mr. Elliott and the entire cast do their utmost to bring out both the humor and horror of Shawn's serio-comedy. But the sly finger pointing at a narrow group within a bigger, ever scarier world doesn't mesh as smoothly and clearly as it should...Interesting as some of the ideas that come to light are, the gradual shift in tone is rather confusing. Except for Shawn and Broderick, none of the characters assigned to these well-credentialed actors are especially interesting."
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"'Evening at the Talk House' is sure to cause discomfort in the audience, because it’s an indictment of us all...While some find this sort of engagement intellectually challenging, others would rather not be faced with what is really a troubling moment of forced reflection. Either way, it’s a well performed and superbly written piece on Derek McLane’s gorgeously cozy club room set that sneaks up behind the viewer before seizing him by the throat."
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"The fine ensemble acting and well-known faces immediately make the audience feel like they’re in their customary universe, with people they know well...The genius of 'Evening at the Talk House' is that it’s a play that makes you think about depressing things and allows you to laugh at the same time...This is a rare theatrical event that made me think but didn’t make me bleed. Go see for yourself."
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