"With her frank and unpretentious point of view, Bushnell developed an appealing and assured mode of storytelling that marries aspirational fantasy with friendly confessional. Making her stage debut at 63, the author synthesizes her own personal and professional life as if it were a surprisingly eventful night on the town, inviting audiences behind the scenes and into her cozy confidence with a wink and a cocktail."
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"For tried-and-true fans of the show, the stories are illuminating at best and packed to the brim with mildly cringe-worthy but to-be-expected ‘90s nightmares at their worst. They’re fun to hear. They’re straight from the source. They’re why most of the audience, who arrived in pods of three or four in their best faux-fur jackets and stilettos, giddy from curtain up and unashamedly toting their Cosmopolitans in plastic cups, made the trek to the theatre in the first place. They are, frankly, why it’s hard for this Cosmo-ordering, female friendship-obsessed reviewer to quantify the star value of the show."
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"Still, it’s hard not to be at least a little touched by Bushnell’s indefatigably blithe spirit, which is exemplified in her breathless delivery as much as in the yummy décor and fashion. (Bushnell quips that she doesn’t know how many shoes she owns: “More than twenty, but less than Imelda Marcos?”) The play ends as it begins, with the author on the phone with her buddies, still chatting like teenagers about their exploits. Men may come and go, but gossip is forever."
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"Amid this whirlwind reflection on her career-defining project, Bushnell forgets to address the question she poses in the title of her show. Instead, she spends most of her 90-minute performance recounting her dalliances at Studio 54, the origins of her adventurous alter ego Carrie Bradshaw, and her repeated success atop the New York Times bestseller list after Sex and the City takes the world by storm. Tales from Bushnell's life post-divorce (and post-menopause) amount to little more than an epilogue, peppered with a few modest insights that ring the appropriate feminist bells without getting into too many gory details."
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"Through the 90-minute show—cheekily directed by Lorin Latarro (who, between Mrs. Doubtfire, The Visitor, and Waitress, must be New York’s busiest choreographer)—Bushnell dishes on her post-SATC career highs (landing on the New York Times bestseller list with her books Four Blondes, Lipstick Jungle, The Carrie Diaries, and One Fifth Avenue) and lows (her two-years-in-the-making novel Killing Monica, of which she says “The reviews are so bad, even my agent wonders how I’m able to withstand it”), but ultimately, like SATC, this is a show about love, friends, and relationships. It’s a little rocky—remember, Bushnell is a writer, not a performer, so her delivery can be forced (though that should ease as the run progresses)—but your Sex-obsessed girlfriends will love it all the same. Especially with a cosmo in hand. And yes, they sell them at the bar."
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Ms. Bushnell proves to be a vivacious performer with a great deal of stage presence, not surprising for a woman who was the model for Sex and the City’s Carrie Bradshaw. The show is both entertaining and revealing, correcting many misconceptions about the true adventures of the author. She also gets to change into a dazzling array of outfits by Lisa Zinni in an attractive apartment setting by Anna Louizos which colorfully lit by Travis McHale. And like Carrie Bradshaw she collects shoes which are in evidence in the shelves on the stage.
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"No matter my lack of interest or insider knowledge about the TV series, Bushnell is at the ready with stories that will make your head spin."
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"Bushnell is something more insufferable: She is a whiny winner who flaunts White Female Privilege. It’s uncomfortable listening to Bushnell’s gripes about being a member of an oppressed majority group when her place-dropping runs the gamut from Aspen to Sag Harbor to Chateau Marmont."
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