Love, Love, Love
Closed 2h 5m
Love, Love, Love
79

Love, Love, Love NYC Reviews and Tickets

79%
(293 Reviews)
Positive
88%
Mixed
10%
Negative
2%
Members say
Great acting, Funny, Clever, Entertaining, Thought-provoking

About the Show

Roundabout Theatre Company presents Mike Bartlett's new dark comedy about what happened to the free-loving teens of the '60s when they started to face middle age. Directed by Tony winner Michael Mayer.

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Member Reviews (293)

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82
Entertaining, Intelligent, Thought-provoking, Resonant

See it if you want to see a sharp satire/morality play for baby boomers (and, to a lesser extent, Gen-Xers) wrapped in an entertaining family drama.

Don't see it if you're not willing to see/accept/laugh at the failings of your own generation (be it boomer, gen-x or millennial).

78
Ambitious, Intelligent, Great acting, Resonant, Great writing

See it if Caustic, pitch-black comedy about boomers & their children over three generations. Excellent acting (Amy Ryan!!) with sure-footed direction

Don't see it if Corrosive irony can get to be much by the third act but overall a sharp, insightful satire on the gradual warping of a value system

Critic Reviews (36)

The New York Times
October 19th, 2016

"This play rumbles with a sometimes too easy irony...And yet I have to admit I had a swell time at 'Love, Love, Love,' impeccably directed by Michael Mayer and featuring a nigh-perfect five-member ensemble...The greatest joy in 'Love, Love, Love' comes from the chance it affords its stars to conquer the aging process and to demonstrate how people change — or more to the point, remain themselves — over the years."
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Time Out New York
October 19th, 2016

"Although it may sound overly schematic in print, the psychocultural history mapped by 'Love, Love, Love' is filled with interesting detours and switchbacks, abundant humor and a refusal (mostly) to condemn baby boomers outright...Michael Mayer’s fine-tuned and nicely balanced production shows off five actors in top form...It’s a testament to Bartlett’s clever, incisive dialogue that such selfish, limited people should steal our hearts."
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New York Magazine / Vulture
October 19th, 2016

"That the play is little more than a stunt dawns on you only gradually. In the 1967 act, you might be blinded by the brightness and sitcom speed of Michael Mayer’s high-gloss production...Then, when the second act leaps ahead 23 years, the bottom falls out...Craziness is fun to watch, until it isn’t...This is the kind of play that seems to have been written in reverse, starting with a slick structural concept and heading, somewhat haphazardly, back toward human portraiture."
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The Hollywood Reporter
October 19th, 2016

"Bartlett manages the neat trick of making us relate to his characters while not particularly liking them. It's a testament to his gifts for incisive characterization, pungent comic dialogue and astute social commentary...The lead performers skillfully handle the difficult assignment of playing characters over several decades, even if they're not always fully convincing in every incarnation...While 'Love' is not quite as profound as it intends to be, there's an awfully lot in it to, well, love."
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Entertainment Weekly
October 19th, 2016

"The premise and structure of 'Love, Love, Love' is intriguing: In three acts, with an intermission between each, we leapfrog across the decades...'Love, Love, Love' might have redeemed itself if it contained a modicum of the love its title boasts, or if any of these characters had even the slightest bit of an arc, but they don’t...By the end of 'Love’s' two hours, it feels almost as if the play’s four-decade span happened in real-time."
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Variety
October 19th, 2016

"A cross between Joe Orton and Kenneth Lonergan, this snappy satire follows the adventures of a young British couple as they meet in swinging London and follow their bliss to 2011, birthing and discarding emotionally stunted offspring along the way. As Bartlett tells it, with searing insight and mocking wit in a flawless production directed by Michael Mayer, this was the generation that grabbed everything with both hands — and then ate their young."
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The Wall Street Journal
October 20th, 2016

"Bartlett has given us what looks on first viewing like the best stage comedy to come along since Tom Stoppard’s 'The Real Thing,' and Mr. Mayer’s production is flat-out perfect...The laughs are piled high atop one another, but they’re bracingly angry...'Love' is, in short, a morality play, but one so well made and pulverizingly funny that it hardly ever feels preachy...It’s gloriously funny, but it’s also an important play, one whose harsh message deserves to be heard far more widely."
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Deadline
October 19th, 2016

"'What did you stand for? Nothing except being able to do whatever the f!!k you wanted.' Harsh, yes, and let’s admit somewhat broad for a generation that included at least a few societal game changers. Yet still ringing of truth, especially in the performances that Mayer has drawn from this amazing quintet...While it’s great fun watching Armitage and, especially, Ryan age seamlessly from callow youth to shallow middle age, it’s the increasingly commanding Kazan who walks off with the show."
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New York Daily News
October 24th, 2016

"Mike Bartlett’s caustic comic takedown of British baby boomers is wildly funny and just as blunt...Michael Mayer’s direction is fluid and the acting is sublime, but it’s hard to love, love, love the fact that Bartlett spells things out so baldly."
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AM New York
October 20th, 2016

"A three-act comedic drama set in the domestic sphere but with an underlying political edge, 'Love, Love, Love' is essentially an indictment of a husband and wife over a 50-year period in England...The first two acts initially seem short and slight, but the play as a whole pays off in the end...Michael Mayer’s production also becomes increasingly more entertaining as the atmosphere becomes more combative and the performances hit ridiculous extremes."
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Theatermania
October 19th, 2016

"Bartlett irreverently reveals human nature through the spectacle of perfectly awful characters getting away with everything. Some viewers might protest that his characters verge on caricature, but it is through the live combat of these artful stereotypes that generational drama becomes uproarious comedy. Certainly, it offers a particularly fun challenge to a creative team. Director Michael Mayer pushes the comedy to farcical proportions, especially in the riotous second act."
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Lighting & Sound America
October 27th, 2016

"The playwright's indictment of superficial baby-boomer values doesn't quite land, since it comes wrapped in a slick comedy filled with characters who are little more than human targets for barbed commentary. Cheers to director Michael Mayer and his gifted cast for keeping things lively...If you're going to indict an entire generation for its shallow values, your play is going to need more heft than this slick, superficial effort."
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Talkin' Broadway
October 19th, 2016

"A devilish delight, packed with the kind of uproarious surprises, ironic echoes, and self-consuming insights that are pretty rare in the theatre today...Mayer's direction is excellent, concise and creative...In a climactic speech, Bartlett abandons subtlety and subtext altogether and starts preaching outright...Bartlett works infinitely better under the radar, delivering his compelling social commentary with wry humor, precisely timed shocks, and exactly the right amount of heart."
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TheaterScene.net
November 5th, 2016

“British actor Richard Armitage making his New York stage debut and Tony and Academy Award nominee Amy Ryan work hard to make Kenneth and Sandra three-dimensional, likeable people, but, as written by Mr. Bartlett, their crassness is the fatal flaw in ‘Love, Love, Love’. Why should we enjoy spending so much time with two people who so adroitly care only for themselves?”
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Theater Pizzazz
October 27th, 2016

"'Love, Love, Love' looks to be one of the comedy highlights of this season...The comedy is superbly portrayed by this well-chosen cast—Armitage and Ryan are the perfect ying and yang, ever so delicately brought to life by Michael Mayer’s fine directorial hand. Derek McLane’s three well-designed sets are right on the money as are Susan Hilferty’s costumes."
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CurtainUp
October 19th, 2016

"Naturally, even a work from as assured and original a playwright as Mr. Bartlett calls for top-notch performances to bring out the humor and nuances of his script...With Michael Mayer directing a well-chosen cast there's nothing to worry about in the acting department. Nor will American audiences have a problem relating to these characters...It all adds up to a well-paced production of a beautifully crafted, funny and poignant new play."
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Front Row Center
October 29th, 2016

"The entire ensemble turns in strong performances...The leaps in time and setting are visually delightful. The compromise, however, is that the transformations require a 10-minute intermission between each short act. This effectively kills any pacing that director Michael Mayer was hoping to establish. The experience is more like binge watching three episodes of a BBC comedy, than viewing a cohesive piece of theater."
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C
October 20th, 2016

"Often hilarious, ultimately troubling comedy, under the inspired direction of Michael Mayer...As portrayed to sheer perfection by British heartthrob Richard Armitage and Oscar and Tony nominee Amy Ryan, Kenneth and Sandra latch onto the free-love, pre me-generation ethos of the swinging '60s as teens and use it as the road map for their lives...Yet, it remains a testament to Armitage and Ryan that it’s almost impossible to hate these two people, even when we question or despise their actions."
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Times Square Chronicles
October 27th, 2016

"Witty, intelligent, insightful and speaks volumes...The cast is perfect with Zoe Kazan breaking new ground...Mr. Mayer makes 'Love, Love, Love' seem like several episodes of 'Love, American Style' gone painstakingly bad. This play needs to be seen, produced and shown to a public that needs to laugh, needs to think and needs to be shown the truth. Mike Bartlett is a playwright to take note of, much like Tom Stoppard and Neil Simon."
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The Guardian (UK)
October 19th, 2016

"It’s a scathing, occasionally sidesplitting and not precisely subtle indictment of the Baby Boomer generation and the havoc it has heedlessly wrought...Bartlett occasionally comes at his social and political argument too directly...But he leavens his argument with a lot of nasty humor and is very good at showing the destruction a careless remark or action can inflict...Together the ensemble joins to create one of the most indelibly and viciously failed families to grace the contemporary stage."
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The Clyde Fitch Report
October 21st, 2016

"The five actors, whom Michael Mayer directs with utmost authority, play together well. Needing to present characters who age 44 years, Ryan and Armitage have the biggest challenges, and they come out okay, if best suited to Act II. Rosenfield’s Jamie and Kazan’s Rose only age 21 years and come out OK, too. Susan Hilferty’s costumes help with the time progressions."
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The Wrap
October 19th, 2016

"It’s hard to say what’s more astounding: that Armitage is utterly convincing at each age in each act, or that someone has written a three-act play in an era of 80-minute divertissements?...Mayer‘s direction is bouncy...Mayer’s manic brand is much less effective with the introduction of Kazan’s teenage Rose in the second act. From the beginning, she should be the eye in this family storm, but her tragedy is played for broad laughs."
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Wolf Entertainment Guide
October 30th, 2016

"Selfishness is a motif in the scathingly funny take enlivened by excellent performances. Michael Mayer directs with precision that doesn’t let anybody off the hook...The author provides a sharply funny look at this kind of parenthood, which is a welcome antidote to the parental platitudes often served us in plays, films and TV programs. Amy Ryan in particular raises her character to an art form as she energizes a larger-than-life persona in a performance that is as funny as it is award worthy."
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Broadway & Me
November 2nd, 2016

"Bartlett is a clever writer with an acute ear for dialog and, with the assistance of Michael Mayer's sharp direction, the play is undeniably witty and entertaining. But I had expected it to be more—and to be more subtle...None of it is enough to inflate the play's one-dimensional caricatures into full-bodied people or to refine its broad generalizations about the lives of those in the boomer generation into a convincing portrait of one specific family."
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Newsday
October 23rd, 2016

“Bartlett’s lacerating entertainment is less believably about a cultural and political generation than about the curdling of two outlandishly selfish individuals. Putting broader meanings aside, the drama is a spectacular showcase for marvelous actors to age and transform into almost unrecognizable versions of the same characters...Bartlett creates dazzling character-revealing dialogue and, under the virtuosic direction of Mayer, makes people whose agonies are giddily enjoyable.”
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WNBC
October 19th, 2016

"So … is it better to be born smart, or lucky? That’s the question I found myself coming back to in the days after 'Love, Love, Love,' which finally proves to be making a point—and asking hard questions—about entitlement, fortune and circumstance...'Love, Love, Love' left me both amused, and consumed by thoughts about fortune and fate. This marks two seasons in a row with an engaging and fast-paced play by Mike Bartlett on our shores."
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City Cabaret
December 3rd, 2016

"Guideposts from the Baby Boomers, the Me Generation, and the Millennials emerge shining with palpable irony and, under Mayer's direction, five razor-sharp cast members portray characters who are well-carved, poked at and picked apart for detailed authenticity...Bartlett's smart dialogue and efficient touches of comedy aside, it is difficult to like these complex characters...Like them or not, however, it is compelling watching these pros cast their cruelty and react to it."
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Diandra Reviews it All
October 20th, 2016

"Armitage and Ryan have made momentous, memorable characters through Ken and Sandra...They both do excellently at making their characters’ layered and easily examinable for moral lessons...I was enthralled by 'Love, Love, Love.' The cast was stellar...Seeing how generations struggle to extend themselves in love between and for each other is a topic that is timeless, but not as articulately or humorously discussed as in 'Love, Love, Love.'"
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Act Three - The Reviews
November 30th, 2016

"One of the things I most enjoyed about Mike Bartlett's play is the ease at which he gets the audience just before he slides the knife in. Biting, cunning, humorous, and genuinely quite an accurate indictment he makes of the Baby Boomer generation (with a dash of Millennial choke-on-this thrown in.)...This ensemble cast is superb... Sets, divine...Michael Mayer must have had so much fun directing this one—letting some lines hang—and pounding others down our throats."
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On Stage Blog
October 20th, 2016

"Directed by Michael Mayer, the talented actors bring out dynamic and enjoyable performances...Much of the comedic effect comes from the difference between parents and children, with parents jokingly dancing through life and the kids’ lives filled with drama. Mike Bartlett raises some very down-to-earth questions...These bitter questions about life come sugarcoated in a smart and fast-moving comedy, which makes them easy to swallow and take some time to digest after the show."
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Reflections in the Light
November 1st, 2016

"Strong performances, particularly from Ryan who manages to make a pretty unlikable person likable...It's kind of a bummer, even if there is truth in playwright Mike Bartlett's storytelling (it clocks in at just over two hours). The dark humor misfires because, unlike Bartlett's 'King Charles III,' which poked fun at Britain's royal family, dysfunction in the typical American family strikes us as more tragic."
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Reviewing The Drama
October 19th, 2016

"Bartlett is a great writer and a keen observer of relationships, and he proves as much with this decade-spanning serio-comedy that traces the relationship of Kenneth (Richard Armitage, appealing, commanding, charming) and Sandra (Amy Ryan, sharp, cunning, captivating) from the swinging '60s to present day, all under the direction of Tony winner Michael Mayer...Bartlett entreats the audience to think about love, love, love, in all its shapes and sizes, in all the directions it can take you."
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The Associated Press
October 19th, 2016

"Mike Bartlett has written a mordantly funny play...Smartly directed by Tony Award-winner Michael Mayer. His staging of Bartlett's trenchant wit has the audience constantly laughing at awkward or uncomfortable interactions even when we sense tragedy on the horizon...Bartlett's piercing satire holds many grains of truth, and will resonate ruefully with both generations it depicts."
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Show Showdown
October 30th, 2016

"Kenneth and Sandra are some of the most endearing and amusing awful people you're likely to hang with anytime soon...The play itself may not be a masterpiece, but it's solid and compelling...I nevertheless wouldn't argue that this is a terribly startling or profound message, or one that offers much in the way of insight into the fate of the characters...Then again, as far as characters go, the ones in 'Love, Love, Love' are memorable, curiously endearing, and beautifully rendered."
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The Telegraph (UK)
October 20th, 2016

"'Love, Love, Love' lacks the finesse of Bartlett’s recent work...Here, things shift awkwardly into serious gear in the final act. Also, while Ryan is bitterly hilarious as Sandra, delivering crushing put-downs in a sing-song voice, her character gets few of the glimpses of humanity granted to Kenneth...Nevertheless, Bartlett’s writing–driven by the breathlessly hysterical tone of director Michael Mayer’s production–is savagely and relentlessly funny in Kenneth and Sandra’s scenes with their kids."
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I
November 3rd, 2016

"Mike Bartlett deftly balances the big picture—the damage wrought by a generation with entitlement issues—with the specific, as the amiable but exasperating couple wreaks havoc on its children. Outstanding performances across the board, a smart trilogy of time-hopping sets and costumes, and a top-notch script make this bitter pill easy to swallow."
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