See it if you intend to see the musical Carousel on Broadway. This is an updated version of the play Liliom upon which the musical was based.
Don't see it if you don't like an old fashioned play. Nowadays beating is not considered a display of love so that part of the play and musical is dated. Read more
See it if You like a love story mixup, with hardship, and making peace with oneself.
Don't see it if No action No music, Read more
See it if y.l.t. see Coney Island in a play; also to say AHA! this is what Carousal was all about, Mixed acting skills. Intimate stage works for us.
Don't see it if you are expecting a musical or if you expect a BROADWAY production. Score is an average of 80 & 75
See it if You want to see a realistic love story that takes place almost 100 years ago
Don't see it if Other than the love story a lot of the play is fictitious and if you need something to be believable you may not like it Read more
See it if you never saw "Liliom" but you have seen "Carousel". Comparisons are interesting. An unusual love story.
Don't see it if love stories are not for you. Read more
See it if You have an interest in the genesis of Carousel
Don't see it if you want dynamic performances, interconnectedness of actor to role and/or actor to actor. you dont like odd costumes, odd sets,
See it if You'd like a promising Depression-era Coney Island update of the dark Carousel source material. Good cast, rough tech, script needs tweaking
Don't see it if You haven’t the patience for a show that 5 performances in should have been much tighter physically. Notes to the stage manager, please. Read more
See it if you want to see a strong ensemble cast or are a fan of Coney Island culture.
Don't see it if you're expecting Carousel (based on the same play).
"The last scene is so movingly done that it tempers the impression of this frustratingly uneven world-premiere production...Mr. Weller adds a vaguely ghoulish, shape-shifting narrator to the proceedings, which is also a bold move...It pays off. But Ms. Braza never gets her arms around one of the trickiest things about 'Liliom' and its variations — a tone that shades from violence to euphoria, menace to humor. The audience response is sometimes unintended laughter."
"'Jericho' is not a lovable play, and yet I found it unaccountably moving...The first act is defeated by the small space and Braza’s graceless deployment of her company, and it’s not helped by the amateur device of a narrator...Something almost miraculous happens when we return from the intermission...The awkward pacing of the first act gives way to a beautifully choreographed death scene the actors can really sink their teeth into."
“Michael Weller whose last New York premiere was the misguided musical version of ‘Doctor Zhivago’ has done a fine job of adapting Molnár's ‘Liliom’ to an American setting. Unfortunately, The Attic Theater Company premiere is not quite up to the task. Except for two of the secondary roles, the casting of Laura Braza's production leaves much to be desired.”
"A provocative and disquieting expressionist narrative...It’s a beautiful story, smoothly directed by Laura Braza, but it’s also highly problematic...Weller negotiates this rather well, but the images it conjures gave me pause. There’s a thoughtful epilogue...Weller’s dark fairy tale for adults is prophetic, as our current national debate about sexual harassment and our current political climate emphatically suggests."
"A complex and brutal love story...Unfortunately, this shaky production, playing out during the desperate days of the Great Depression, feels unfocused and hard to hold on to...A cast of strange oddball characters unsteadily directed by Laura Braza with an overly exaggerated edge playing to the humor at the expense of the darkness...Much of the script is heavy-handed and comically over the top...The direction just never feels strong or clear enough."
"The play is uneven. Its biggest misstep is the device of Dr. Ruhl who’s irritating and distracting (ever present) throughout...Two outstanding actors shine: Hannah Sloat inhabits just the right quiet resolve...Pope portrays Mrs. Mosca as if having given her much thought...Director Laura Braza seems to have taken a loose hand. Good actors are swell, the poor ones ungoverned. Pacing is fine, stage movement effective if not creative."
"This production provides evidence why it has remained out of the repertory...In spite of good performances...the color-blind casting in a historical period of keen racial divisions is jarring...There are other bafflements...Molnár’s original is now a period piece with little to say to viewers conditioned to loathe sexual abuse...Clumsy writing and direction. You may want to stick with the musical version."
"The script gives us well-developed, empathetic characters and a gutsy story...A fine cast...Weakness lies in its second act, when the story's fabulistic element pushes to the fore and things get uncomfortably silly. Fortunately, Weller has composed a beautiful closing scene that restores the first act's gritty, colorful spell...A believable world where privation and desperation live side by side with hope, optimism, and a perpetual carnival."