Harry Clarke NYC Reviews and Tickets

"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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“The charismatic, handsome actor exudes sex appeal, making his character's seductive talents fully credible. Crudup also delivers a tour-de-force performance; effortlessly delineating his multiple characters, switching accents at the drop of a hat and even singing...Unfortunately, his protean efforts are on behalf of a shaggy-dog story that, while it has its entertaining moments and wittily amusing observations, doesn't add up to very much...Crudup nonetheless makes it worthwhile.”
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"Take advantage of the opportunity to see Crudup at the top of his game in the new off-Broadway tour de force 'Harry Clarke' at the Vineyard and you’ll be forever glad you did...It’s a wild romp played with gusto, finesse, and awesome authenticity...The program credits the excellent Leigh Silverman as the director, but I wouldn’t be surprised to learn Crudup directed himself. Whatever the case, 'Harry Clarke' is one of the oddest and most exhilarating theater triumphs of 2017."
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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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“Slyly seductive and quietly creepy...The plot emits the musky scent of Highsmith’s dark and sexy thriller ‘The Talented Mr. Ripley’. But Cale’s vivid details and imagery and tightly calibrated narrative gives the play its own distinction...Under the direction of Silverman, Crudup doesn’t make a false move...He glides seamlessly from one character to another — man, woman, gay, straight, drunk, sober. Playing an impostor, Crudup proves, once again, he’s the real deal.”
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“Cale's ‘Harry Clarke’ feels a lot like a story we've heard before. Somewhat derivative, this solo play is nevertheless an undeniably entertaining meditation on identity and deception...Crudup is particularly convincing in both sexual and dialectical malleability, deftly juggling multiple accents...Silverman's unobtrusive staging puts its faith in Crudup and Cale's writing to hold the audience rapt, which turns out to be the right bet.”
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“Usually, Cale writes vehicles for himself; this time he outsourced the job to Crudup. The result is a joyful reinvention for both artists...Crudup delivers a tour de force...Cale establishes Philip's unhappy youth with such force that we find ourselves rooting for him...That we do so is due in no small measure to Crudup's seemingly effortless handling of the script...Watching Philip/Harry's wild ride provides an evening of wickedly enjoyable entertainment.”
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“Amazing, incredible, sexy and haunting—take your pick. But they all seem like puny adjectives in light of Crudup's Herculean achievement...It's an auspicious meeting of talents that finds Cale collaborating with Silverman, who has an unerring eye for small, subtle details...Good old-fashioned storytelling' at its finest...A deft examination of identity, personality and the ability to reinvent oneself at the drop of a hat, 'Harry Clarke' will delight you and terrify you in equal measure.”
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“And with little more than a wooden deck chair, a small table, a wooden slated floor and a sky-blue background (the set is by Alexander Dodge, the lighting by Alan C. Edwards), Crudup's tour-de-force performance is a potent reminder that all you need for good theater is the actor's voice--as well as a good script, of course. It's also testimony to his having been well directed by Leigh Silverman, who seems to have gotten the best out of Crudup with his multiple voices and varied expressions.”
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“Through David Cale's new play ‘Harry Clarke,’ we see how Brugglestein—portrayed by the sensational Billy Crudup—transforms into Harry Clarke...Crudup fills out the character and the messiness of coping with a traumatic childhood...In ‘Harry Clarke’ the story unfolds in sensitive, thrilling stories told by Crudup…Original music also written by Cale adds a refreshing element that helps distinguish Harry Clarke from many of Billy Crudup's other performances.”
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“Crudup can mug with the best of them in the different characters he assumes in this one-man show so cleverly written by Cale. It’s not the distinctive voicing of females or males, but the physical and emotional subtlety he swiftly assumes as he morphs into each...All unfolds through the vivid performance skills of an amazing Crudup relating this outrageous story that is both funny and sexually charged...This is a dazzling piece of writing directed by the exceptional hand of Silverman.”
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“Cale has created a full-bodied play with a real plot that just happens to enable one actor to play all the characters...Entertaining as the plot Mr. Cale has concocted is, the real fun is to watch Crudup take on all these characters. Without costume or cosmetic changes, he assumes all these people's quirks, voices and physical stances...’Harry Clarke’ counts on Cale's witty script and Crudup's virtuoso performance to make us buy into some of the factual improbabilities.”
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“'Harry Clarke' reminded me once again that Billy Crudup is a terrific actor...That was what this production did for me. This was enough in an of itself, but it could have been so much more...Cale’s text is lacking in connectivity, and Silverman’s direction does little enhance the written word. This train is being powered entirely by the good intentions and determination of Crudup...While Crudup is more than inspiring to watch, I wish he had had material and direction that allowed him to soar.”
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"Billy Crudup is nothing short of ravishing in the titular role, embodying a host of characters as he recounts a tale of seduction and deceit. There’s a fluidity to his acting that is both unsettling and engrossing, as he transforms from an imposing midwesterner to an artsy young woman in the blink of an eye. Director Leigh Silverman moves Crudup around the stage in a dance that becomes remarkable in its specificity."
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“Cale’s exciting ‘Harry Clarke’ is a magnificently fun ride to take with Crudup, who is given numerous great moments and thrilling acting choices...Crudup is magnetic, holding our attention completely...He keeps us leaning in nervously as we try to figure out where this play is heading...Directed by the wonderful Silverman, the piece drives forward with an anxious edge that borders on excitement, tension, and fear of discovery.”
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“As a piece of psychology, I’m not sure it hangs together. As a piece of writing, there’s not a lot new here, although Cale and Crudup bring plenty of gusto and plenty of brash sexiness to a somewhat familiar story. But as a character study and a piece of acting, it’s enormously fun, with dizzying layers when Crudup is playing Philip being Harry recounting Mark mimicking his sister or mother. Cale and Crudup have nailed the speech patterns of the Schmidt family...A trifle, but an entertaining one.”
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"A complex and engaging psychological study...Cale’s script is carefully developed: it has a well-defined dramatic arc and it features interesting and well-developed characters with engaging and believable conflicts...Under Silverman’s astute and unobtrusive direction, Crudup engages in a dramatic battle with the script and comes up the clear victor, unearthing Mr. Cale’s treasures and bringing Harry Clarke to life with inexorable energy and irrepressible wit."
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"It takes a charismatic performance by the talented Mr. Crudup to make something undeniably entertaining out of Cale’s familiar and improbable yarn...What’s underneath 'Harry Clarke' feels incidental to what’s on its surface. Director Leigh Silverman smartly puts her trust in Crudup...Theatergoers might still side with Harry, for the same reason that the Schmidts are willingly deceived and exploited. We are seduced by the performance."
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“The audience is never told why it's hearing this story, nor does it learn until the end why the set looks as it does. Numerous incidents transpire but the structure resembles a shaggy dog story, with active events followed by passive ones…Crudup may not be the most chameleonic of actors but his chiseled features and personal charm, coupled with his use of subtle facial and gestural changes, agreeably engage us as he presents multiple characters, male and female, with creditable success.”
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“Cale’s script is quite good, but the lion’s share of praise here belongs to Tony Award winner Crudup, who delivers -- under Silverman’s simple yet smart direction – the kind of tour-de-force solo performance that deserves to be remembered, even honored...He creates an entire world of believable characters...Still, there’s never one second during the show’s 80 minutes when you don’t know which character is talking and Crudup’s face even seems to change its features at times.”
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“An interesting idea, but Cale doesn’t handle the story particularly well...The saving grace, to the extent there is one, is Crudup’s performance. He is good with accents and even gets to sing a little. I’m not sure whether director Silverman could have done anything more to hide the weaknesses in the script...The play came across as a pale, rather clumsy imitation of Highsmith’s ‘The Talented Mr. Ripley.’”
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“Played to perfection by Crudup...There’s a murder stuck in the middle of ‘Harry Clarke’, but you almost don’t notice it...There is, however, a lot of sex...An amazingly erotic play, amazing because there’s only Crudup on stage and he never engages in masturbation...There are instead many scenes of seduction...Throughout, Silverman’s direction creates an environment of seeping malevolence and impending threats that stands in stark contrast to the ebullient, unrepentant ‘Harry Clarke’.”
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"The point of playwright David Cale’s piece doesn’t seem to be its unresolved journey, but rather a look at the mercurial Harry and opportunity for an actor to embody multiple personalities...Crudup mostly keeps his characters separate, changing with speed and precision. The actor vibrates with theatrical focus through the entire production. Though character representation is good, Director Silverman doesn’t do much with her actor in terms of gesture or movement."
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“An unreliable narrator can be great fun...In this case an unreliable narrator can frustrate you, leaving an audience wondering exactly what was intended and whether or not they should care...Crudup holds the stage in this one-person show with his usual magnetic stage presence, ably shifting through multiple accents and characters with aplomb...Crudup’s mastery of the material is the main drawing card of this ultimately unsatisfying work."
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"A solo show with a compelling story told by a riveting actor in a tour-de-force performance...Crudup’s first-person delivery is mesmerizing. Flawlessly shifting from one to another...The show’s minimalist design allows us to focus on Crudup and his masterful delivery of the charismatic character and captivating narrative...An astutely written and insightfully performed study in character, identity, and persona that will have you laughing and leave you thinking about the nature of who you are."
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"Tony winner Billy Crudup charms the audience much as the character he plays charms the Schmidt family in David Cale’s riveting one-man show. In his first solo performance, Crudup is captivating as Philip Brugglestein...Silverman knows just when to get Crudup on the move...The writing is so sharp, and the performance so astute, with a cinematic fervor, that you can easily visualize the places Harry goes."
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"Crudup soon has us forgetting this is a one-man play...The tale he tells is full of surprises, details, suspense; and there was total absorption...His is a tour-de-force performance, and it deserved the ovation that greeted him on his bows...This is exactly the sort of work that theaters like the Vineyard are mandated to offer, and they justify their leadership in this small group of explorers who sometimes come up with gold. This is one of those times."
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"Crudup gives a powerful performance...'Harry Clarke' proves to be an interesting experience...Unfortunately, the playwright never decides exactly what he wants to focus on...As such, good as the piece is, one eventually begins to listen to it with a rather detached air...Crudup does an excellent job in taking on the personas of the various roles...An enjoyable experience, but the tale related doesn't go deep enough to make it something really special."
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“Crudup is stellar...The actor proves that Hollywood has not done enough to bring his charm and emotional malleability to the forefront. Thus, leave it to the theatre world, to show you the true extent of his talent in a thriller that redefines the genre...‘Harry Clarke’ is thrilling and mysterious...Unlike most thrillers, you cannot really say if Brugglestein/Clarke is a bad or good guy, which shows the intelligence from which Cale wrote the script...A must-see.”
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"'Harry Clarke' is played with unctuous distaste by Crudup...The main obstacle is Clay's writing...A poorly written B film with a talented actor who didn't bring his A game...The story never took hold of credibility or any sense of sympathy for its characters. These are not reasons enough to dismiss the play...Simply a shallow facade...Felt more like an exercise for acting class than an earnest play."
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"One of our most accomplished stage actors, Billy Crudup delivers a tour de force performance...A clever if misogynistic and ultimately misanthropic one-acter...The glory of Crudup’s bravura acting is his shifting gears among all of these differing and at times competing accents...His prestidigitation in 'Harry Clarke,' juggling so many different accents and, even more impressively, disparate characterizations, is what makes this flawed play worth attending."
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“If the whole venture ends up feeling a bit unsubstantial, that’s largely the result of telling a grifter’s story...There are moments of connection, eroticism, and real human feeling throughout...Manipulation can be fun when there’s the promised reward of a magic trick at the end, but the audience leaves ‘Harry Clarke’ with... not much of anything. Crudup’s embodiment of the role, though, is a small miracle, and it feels churlish to ask for more.”
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“Under the vivid and cinematic style direction of Silverman you could swear that there are more people on that stage than just Crudup...As good as the storytelling and as vital the direction, this is Crudup’s show all the way...There is a development near the end which I must say I found a bit impractical. Try to overlook that factor for this is still a very compelling work with a tour de force performance by Crudup.”
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"'Harry Clarke' may be a solo show but in the hands of expert director Leigh Silverman all the various characters that Harry or Philip (take your pick) speaks about comes vividly to life...Under the vivid and cinematic style direction of Silverman you could swear that there are more people on that stage than just Crudup...As good as the storytelling and as vital the direction, this is Crudup’s show all the way."
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"You should see 'Harry Clarke.' It’ll make you want to experiment with accents, renew your love for con men, and introduce you to a rather strange side of Billy Crudup...What I’ll say to those on the fence: 'Harry Clarke' is a moody, one man show thriller in the style of French cinema, featuring a 'Talented Mr Ripley' meets Chauncey Gardiner type character, which is packed in laughs and emotional moments that may just make you want to change your life."
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