"Personally, I could have learned more about young Philip’s schoolboy miseries. But playwright David Cale is anxious to get to the good part, where the kid turns into a full-blown confidence man...Crudup takes Harry deeper into the dark recesses of his adopted identity — especially the side of Harry who toys unmercifully with poor Mark and the members of his generous but gullible family. Crudup plays every character in this story with vocal precision and some subtle physical tricks."
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"Crudup gives a performance that is altogether enchanting and decidedly bravura...Unmissable...A firm basis for an evening of theatrical delight. And a springboard for Crudup to breeze through a 90-minute performance which we might find astonishing if the actor weren't so irresistibly charming...Silverman directs with such skill that her work is invisible; Crudup glides through with no contrivance or crutches in evidence...A treasurable evening in the theater."
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"Crudup delivers a memorable performance of devilish charm and admirable skill...A terrific showcase for Crudup, who seamlessly invokes the voices and physicality of more than a dozen singular individuals...Although handsome Harry is not an admirable fellow, there is no resisting his appeal, thanks to the humor that Cale paints into the character and the charm of Crudup's engaging performance...Silverman's direction is so sheer that it seems nearly invisible."
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"The crowning achievement, if not the sole merit of this show by some accounts, is Crudup’s acting. True to Cale’s repertoire, this show was written as a vehicle for a formidable solo actor, and in Crudup’s hands may well be considered a masterclass in this craft...Silverman’s staging helps Crudup fill Dodge’s cleverly designed set...Edwards’ lighting design guides the audience through the many beats and phases of the play and of Crudup’s character(s)."
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"This is one performance you do not want to miss...As he seamlessly summons some fifteen characters by my count, each with a distinct voice and specific movement vocabulary, Crudup takes the audience on a thrilling ride at once funny, sexy, and scary...Cale has spun a fascinating, original story...I vividly experienced characters and places that never appeared on stage—a testament to the writing, but also Crudup’s considerable talent under Silverman’s keen eye."
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“Crudup appears to be having the time of his life in a sly role terrifically suited to his gifts...One of the best things about the play is that for a long time it leaves us bamboozled into believing...Crudup has a natural sense of drama that needs no underlining. His vulpine charm makes it impossible not to like him, even as he grows alarming...The production, directed by Silverman, is just as masterly, playing quietly on the theme of making much out of little.”
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“Compared to Cale’s previous pieces, 'Harry Clarke' is surprisingly thin...And there's something strangely dated about it, too...Crudup has fire-hose charm and a naughty triangular grin; he's charismatic enough to sell water to a duck. But he hasn't got an immaculate English accent...The piece, for all its faults, has just enough glamour to carry us along. As Harry tells us, sometimes even fake enchantment will do.”
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"Crudup switches not only among Philip, Harry, and his sneering father, but also will transform himself with the widening of an eye, a deft riposte, into each member of the all-to-eager family. It’s a dazzler of a performance, choreographed with precision by director Leigh Silverman. It’s also quietly unsettling, I’d say even shocking, as we realize there’s a void where Harry’s soul should be. That’s what gives 'Harry Clarke' its inevitable poignancy."
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