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"If you don’t know much about the real Joseph Papp, you may wonder what the heck’s going on and why you should be interested. If you do know a lot about Papp and his associates, you may be a bit exasperated by the liberties Mr. Nelson has taken...But 'Illyria' also affords distinctive if fleeting pleasures that no one these days does better than Nelson...Theatergoers with patience will be rewarded by moments throughout when they will feel transformed into proverbial flies on the walls." Full Review
"Audiences will recognize a deep humanity and quiet perseverance in the play — if they can manage to stay awake. It's actually impressive how Nelson is able to provoke big yawns with such a fascinating tale...Nelson populates his drama with a cast of real characters...Their aggressively mild portrayals leave us with the aftertaste of mayonnaise: We never get a real sense of any of them...In pursuit of realism, Nelson downplays the stakes of this vitally relevant story." Full Review
“The tepid tone and low energy level of ‘Illyria’ would have us believe that the birth of the New York Shakespeare Festival was a walk in the park...Nelson doesn’t make much of these real historical challenges...As far as dramatic conflict, the play doesn’t totally flatline. The real problem is with the tone-deaf performance style that Nelson has adopted...Almost everyone falls into the stumble-and-mumble company style...The lack of energy in this production is enough to knock you out cold.” Full Review
"More frustrating than edifying, more obscure than enlightening...I sat in the third row and still couldn't make out much of the dialogue...The dialogue is so low-key and matter-of-fact that it fails to engage our attention...Subject matter so potentially fascinating makes it all the more frustrating that Illyria proves so tedious and lifeless. There's so little passion exhibited that it ironically only makes you wonder how the New York Shakespeare Festival ever got off the ground." Full Review
"The play may be unpleasant, but at least it isn’t puffery...Dull drama...It’s dramatically inert, though the characters talk about important issues like civic space and the corrosive power of government ideologues...Nelson wants his work to be naturalistic and unfussy, but winds up with enforced murmuring...You can sense the strain it puts on the actors to speak in voices that can’t be heard, and many of them turn in mannered, uncomfortable performances. 'Illyria' has only one good scene." Full Review
"A dramatically-engrossing greenroom chronicle...Nelson serves himself well as director...Nelson, by having the performance purposely underamplified, seems to encourage the notion that you needn’t necessarily hear every word that is said...The heretofore little-known Magaro dominates the play...Magaro—like the bantam Joe himself—is small and intense, with a smile and enthusiasm that can sway the severest naysayers. Brill and Kranz are excellent as Papp’s staunch henchmen." Full Review
“A compelling view of an insider world...’Illyria’ is played and directed (by Nelson) in such a low-key manner it’s like eavesdropping on private conversations. But that’s exactly the effect the playwright-director is after...John Magaro conveys the fury and brilliance of Papp while John Sanders captures Vaughan’s measured cautious nature. They and the rest of the company create an illusion of intimacy as a legendary theater is born.” Full Review
"None of this is dramatized so much as revealed through conversation in three scenes set several months apart...'llyria' is probably best appreciated as a glimpse into the passion that theater ignites in its practitioners, especially for those theatergoers who are not fully versed in the history of the Public Theater and its principal players." Full Review
“Nelson's sliver of a drama, even if it sometimes feels constricted, has its own fascinations...Seeing ‘Illyria’ is like listening in on a private conversation; you have to figure out what's happening...'Illyria' may be challenging for those not conversant with Papp's biography...Adding to the difficulty is the throwaway performance style...The actors are, too often, simply inaudible...Still, there's something authentically touching -- and strangely of the moment -- about Nelson's portrait." Full Review
“A string of anecdotes…and historical references do not a play - a good one, at any rate - make…The dialogue and behavior seek to be ordinary, and off the cuff, as untheatrical as possible; the speaking is often so low key that early reviews and word of mouth are causing long lines…to borrow assisted listening devices…Given that so much of the talk is small talk, that 'dramatic' moments arise very sporadically, and that the play's narrative arc is so languorous, the play quickly begins to drag.” Full Review
"A quiet, talky, pensive and unresolved new drama...The play ends without climax or even a hint of resolution, and much of the conversation rambles on too long, but those who appreciate Nelson’s intimate, low-key, ensemble-oriented aesthetic and Off-Broadway history will not want to miss it." Full Review
"Takes Nelson’s material to a new kind of low energy...The show is so low key that you can barely hear the actors and it is hard to comment when nobody seems to be acting...Lincoln Center wanting to get Papp kicked out because they wanted a theatre and a park, is interesting. Watching people talk around a table is not. I am a huge history buff and especially when it comes to the entertainment field. In this case, I would rather search the internet or read a book on the subject." Full Review
"Nelson sketches absorbing portraits of Papp and the tight circle who ventured with him...'Illyria' continues Nelson’s preoccupation with conversational presentation in which the actors speak sotto voce, forcing us to listen hard...It’s far less effective here...Moreover, the male players in this history, starting with Papp himself, were a volatile lot, something you’d never know from the hushed tones prevailing here...'Illyria' has second act problems. Notably: There isn’t one." Full Review
"His directorial approach is very much in the non-stagey, realistic mode of the Apple plays, with the actors to speak conversationally and not always easy to hear...This is essentially a backstage story that doesn't pull you in right away...The dialogue in the second and third scenes becomes sharper, the conflicts more intense and timely — especially given arts institutions nowadays under budget cutting assaults by the powers that be in Washington. The actors too get more into their roles." Full Review
“It’s a dramatic tale filled with ambition, creativity, genius, pride, politics, manipulation, celebrity and historically significant events...‘Illyria’ feels like a corner seat in the room where it happened...Although you know this is about THE Joseph Papp...it’s actually a quiet, realistic piece about some kids who have a dream and no money. Nelson lays out all the struggles and the obstacles, not least of which is Papp’s well-documented volcanic temperament." Full Review
“Nelson's strong suit in recent years has been to move large groups of people around and talking as intimates which is well evident in the new play. However, as director he has kept the tone ‘conversational’ as he has called it in his last seven plays, in which no one raises their voices and all seem almost to be whispering. This proves to be very un-theatrical and makes the play seem like there is no dramatic event.” Full Review
"I fear that playwright Richard Nelson is in danger of becoming a victim of self-parody. He seems to have succumbed to a one-size-fits-all solution to every dramatic problem...He has definitely hit the point of diminishing returns is his latest effort for the Public Theater...At the end of the long first scene, I was hopeful; by the end of the second, considerably less so. The rambling third scene squandered whatever positive feelings I had left for the play." Full Review
"I spoke to several people who had severe problems hearing the actors...It’s a pity because 'Illyria' is one of the best new plays to open in New York City this year...There’s never a misstep in Nelson’s script or any of the performances...'Illyria' is a must-see for anyone who cares about the theater. Just make sure you rent a listening device or sit in the first row." Full Review
“I interviewed the late producer Joe Papp many years ago and there was more energy in five minutes of our talk than is projected in the entire play...There is little in the thin, softly spoken play to indicate the dynamism that made Papp one of the theater’s most important producers...Nelson is probably the wrong writer to have tackled the drama about Papp and his colleagues...Nostalgia does peek through, but the result is mostly boring. Papp deserves better.” Full Review
“Director-playwright Richard Nelson opts for an ultra-naturalistic, stripped-down approach...The female parts seem a little thinly sketched, though that may be a commentary on 1950s gender politics...Nelson’s dialogue perfectly mimics the rhythms of ordinary conversation...Those Chekhovian discussions unfold against a subtly evoked backdrop of lurking menace." Full Review
“Nelson, who is a master of naturalism and making theater in the present, here presents something that lies between a diorama and a shared dream…Three masterful scenes…There's a sense of scrappy camaraderie that helps the play avoid any facile foreshadowing…There are lovely scenes in which characters have long conversations about life and art while eating copious meals, which in this case help transform these potential ghosts into flesh and bone beings…An exceptional production.” Full Review
"Transfixing and rhapsodic; a lovely portrait of a group of young artists struggling to find their place in the world...Nelson (who also directed) and his cast display a note-perfect grasp of these characters, their individual rhythms and their group dynamics -- the audience truly comes to feel like flies on the wall...A striking vision emerges, one that understands the impossibly difficult, brick-by-brick, minute-by-minute process of creating any work of art." Full Review
"Part of the play’s charm is how its characters communicate, which is with a free-wheeling naturalism where sentences clash into each other, and people mutter or giggle. As beguiling as this is, you strain to hear what is being said...At its worst, 'Illyria' feels not only frustratingly inaudible at times but wincingly smug and self-indulgent...It is very easy to fall in love, in fitful stretches at least, with its characters." Full Review
"The most lovely thing about writer and director Richard Nelson's evocative new play, 'Illyria,' is that it's told in his gentle, fly-on-the-wall style...We get to know this group of theater friends not through highly-dramatic happenings, but through their intimate conversations...It's that undertone of canniness that keeps the play from being too sentimental...Unfortunately, they are more soft-spoken than the 'Gabriels' cast — I often had trouble catching whole phrases." Full Review
"While certainly a subject worth discussing, things start to become repetitive rather quickly...None of the characters feel in any way three-dimensional, and thus, not all that interesting. Rather ironic, since just about all of those depicted are real people...Despite the work's various shortcomings, the cast give it their all...A fascinating tale and one that certainly deserves to be told. 'Illyria,' however, is not the vehicle with which to tell it." Full Review
See it if you're interested in the early days of the New York Shakespeare Festival, and you don't insist on complete historical accuracy.
Don't see it if you're unfamiliar with the people who were involved in creating the NYSF, or you would be bothered by not being able to hear every line.
See it if Like good dialogue Richard Nelson does that well wish it was more interesting story
Don't see it if Two hours too long without intermission in a story that does not hold up not unhappy to have seen but disappointed
See it if You want an insight into one of the giants of the American stage. If you want to see a tight ensemble in action.
Don't see it if You don’t care for super naturalism. I was in the second row and it was hard to hear. The strategy means there is no rising action or climax
See it if Mr. Nelson's conversational plays; historical (1958) story based on Public's early founders when it started with NY Shakespeare Festival
Don't see it if want something as moving as Mr. Nelson's other conversational plays - thought the 2nd scene was his most traditional & moving; slow at end
See it if You are interested in the Public’s roots - or are a fan of Richard Nelson’s writing
Don't see it if You are expecting to be engaged. These characters just don’t draw you in. They are not the Gabriels.
See it if you enjoy good acting...
Don't see it if you bore easily, & don't mind not being able to hear much of what is being said, even if sitting in the front row & have perfect hearing...
See it if you like a good ensemble in an intimate setting; you are interested in the early days of Joe Papp and the people in his circle.
Don't see it if The play is slow moving and dull. I was hoping a play about early Papp would be more interesting and meaty. Dialogue is often inaudible.
See it if like a conversational piece about a theoretical beginning to Shakespeare in the Park, real characters hypothetical conversations
Don't see it if if you are looking for drama.
See it if you want to know more about Joseph Papp and how he started free Shakespeare in the Park. His struggle with close collaborators and Rob Moses
Don't see it if you don't find a docu play of interest
See it if Theater junkies will appreciate the tale of this great institution's birth. The usual smart and polished direction by Nelson.
Don't see it if Pace is too slow. Cast clearly directed by Nelson to be "real", as in real slow cue pick ups. Cast conveyed a bad acid trip a decade early.
See it if you need a nap. The seat was comfortable and the theater was dark, and I felt myself dozing off. Also see if you enjoy all-white casting. :/
Don't see it if you need to wash your hair, you want to be entertained or inspired, you'll miss the two hours of your life you'll never get back, etc.
See it if You have at least a passing interest in the history of The Public Theater and Joe Papp. You enjoy the day to day struggles of real life.
Don't see it if You need sturm und drang in your theater. You are embarrassed to ask for the assisted hearing devices some may require.
See it if you want to see the imagination of some of the struggles to get the public going
Don't see it if you want to be left feeling Joseph Papp was a nice guy (But kuddos are due him for his role in the Public being established)
See it if you want to see a naturalistic style play about a young Joe Papp and his friends in the early days of the New York Shakespeare Festival.
Don't see it if you need a lot of fast action or don't like talky plays
See it if You want to see a very natural play where you feel you're a fly on the wall, observing party events.
Don't see it if You'd prefer to be transported to a magical world. This play is very grounded and centered on the real world.
See it if you have any interest in backstory about Joseph Papp and the precursor to Shakespeare in the Park. Several strong performances, but uneven.
Don't see it if you have zero interest in a production by the Public about the founder of the Public. Some actors don't project well; can be hard to hear.
See it if You are a fan of intimate conversational theatre, naturalistic acting or just want a dramatized view of the people who formed the Public.
Don't see it if You are looking for action or a highly dramatic plot or you have a hard time hearing as the actors speak in “indoor voices”.
See it if arts advocacy/preservationist leanings, Pappism, leisurely storytelling, leaning forward to hear, are your thing
Don't see it if almost inaudible, almost Chekovian, dinner/casting table centered drama, are not your thing