Illyria NYC Reviews and Tickets
Show-Score Member Reviews (130)
See it if become fly on wall (1958) when young Papp beset by financial woes/resistance 2 free Shakespeare; but Papp's relentlessness shines thru
Don't see it if play consists of conversations delivered so softly/off-handedly that it's hard to hear the words & dramatic moments are drained of drama
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're interested in early history of an important theater; it's a "conversation" between insiders, often interesting
Don't see it if you're annoyed by excessive mumbling; also, missed opportunity to say more about Robert Moses
See it if if you are interested in some of the struggles and trials of the beginning of the Free Shakespeare in park. Nelson captures the history
Don't see it if if you are Nelson fan. He uses a great cast to depict a moment in history. good look at Papp creating Skakespeare in park
See it if you enjoy excellent dialogue that is well acted and staged
Don't see it if you prefer more active theatre and louder speaking
See it if you're a theater history nerd and has a pretty good hearing
Don't see it if you cant stand actors not projecting their voices.
See it if You're interested in the beginnings of the Public Theater. Really enjoy plays by Richard Nelson. Love the exchange of ideas on stage.
Don't see it if you find Nelson plays with actors talking at a dining room table boring. Want lots of action. Uninterested in Joe Papp or the Public Theater
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
Critic Reviews (36)
"In his signature quiet and conversational way, Nelson provides three glimpses of Papp and colleagues...As usual, there’s much to admire in Nelson’s artful writing in which a group of like-minded people is sensitively presented. But despite the backstage intrigue, there’s a decided lack of urgency and drama...Nelson directs assuredly, but his generally fine cast is upended by John Magaro’s pallid and unfocused Papp."
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"The work fascinates as it also provides a window into a time of political foment where artists were still being summoned to the McCarthy tribunal and many in City government were bowing down to a kind of political cronyism and fear mongering the likes of which we are again being buffeted by...The cast delights as it works seamlessly...Author Nelson, also directs, imbuing the play with an even greater intimacy."
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“There is almost no plot, but it’s fascinating to watch and hear these young versions of people who went on to great success as they try to figure out how to keep Papp’s dream afloat...Nelson has directed the play and much of it is 'conversational’ – meaning so low in volume that even I, sitting in the second row, missed a lot of it...If you are fascinated with this period in our theatre history, I think you will have a good time. If you’re not, you’ll probably find ‘Illyria’ a tough slog."
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“As unshowy a play as you’re ever likely to see about show people...It’s revealing, when you tease significance from it...It’s also at times a little listless, quiet enough that if you’re not in the front rows you might have to lean in and strain to catch it all. It’s less like you’re watching a play than trying to make sense of your first day at an internship...The show is often muted...'Illyria’s' artists catch us up in their rich, reeling talk. But the scale and scope here is vigorously human."
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