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“'Must' never provides any specific insights into the life of the person or the legend...An under-researched evening of theater, with the dialogue, characters, and psychological underpinnings acting more as generalizations than specific and rich elements that add to the overall storytelling. The vagueness is so glaring that despite sharing the names of historical figures like Billy the Kid and Pat Garrett, it might as well not be about them at all, making this production far from a must-see.” Full Review
“Pretty much dead on arrival. Billy isn't much of an outlaw...Instead, he comes off as a modern misunderstood adolescent, largely passive and given to nursing old wounds. This is surely the least interesting choice...'Must' has zero dramatic tension...Under the sluggish direction of Gabriel Vega Weissman, there's nothing the cast can do about these sleepy proceedings...’Must’ is visually arresting even when dramatically numb." Full Review
“The big question raised by 'Must'…is why Bruce Willis chose to moonlight from his busy acting career to serve as its lead producer…A lugubrious, nonlinear, plotless series of talky, pretentious, mostly two-character, dream-like scenes…While the conversations occasionally reveal friction between Billy and the others, the bleak, non-humorous dialogue is so artificial, elliptical, and metaphorical…that Billy can't meet his maker fast enough despite the show's only one-hour running time.” Full Review
“Droning on for an hour, ‘Must’ is playwright Cissel’s stupefying ‘unearthing of Billy The Kid.’ It’s like Arthur Miller took a break from completing 'After the Fall' to write an episode of Gunsmoke...Mr. Cissel’s treatment is a turgid exercise with little action and lots of leaden talk...’Must’ freshly takes a potentially compelling cerebral and psychological approach in depicting the tale but is decidedly unsatisfying.” Full Review
"For a Wild West play, there is little in the way of excitement or action. Playwright Charles Cissel deserves some credit for taking a risk and writing a reflective play about the famous outlaw Billy the Kid, rather than an action adventure...It can be hard to follow these scenes. At times, it feels like Cissel used magnetic poetry to write the script, stringing words together without creating a narrative." Full Review
"Purports to excavate the background of Billy The Kid but buries the lede beneath lackluster dialogue that mistakes clichés for insight...Encumbered by Charles Cissel's flat prose, these actors fail to register as anything other than cinematic stand ins. In fact they look as if they are marking time along with the rest of us until curtain falls. In lieu of direction, Gabriel Vega Weissman has the actors yell their lines as if increased volume will summon greater lucidity. " Full Review
“Stewart as Pat Garrett manages to inject some life into his lines, but due to the static, measured nature of their recitations it’s hard to tell about the other, no doubt fine, Equity actors. While the slow formality of Weissman’s direction honors the show’s intentions, the pacing proves too deadly even for dead people...Charles Cissel, as evidenced by the sad, staged poetics of Billy the Kid, is much more likely a poet than a playwright.” Full Review
See it if you like an interesting staging of someone's life. The acting except for role of sheriff was good. Some moving moments with parents.
Don't see it if you want a fully developed story about Billy's life. Program says 90 minutes but show under an hour.
See it if like a well-acted play, short in duration. Or a historical piece with only a vague connection to actual events. It is an introspective piece
Don't see it if you need action. This is an introspective piece and not meant to be taken on any realistic plane.
See it if you have time to kill ...& willing to sit on a slow play that can put you to sleep - as the dialogues & sunset stage lights set that mood.
Don't see it if you actually want to enjoy and learn more about Billy in an interesting way. The staging, lighting, costume and cast were promising though.
See it if can't really say there is much to recommend this show but as it appears to be a new writer you at least can get a look at that work.
Don't see it if aimless dialogue, overheated theaters, characters who elicit no real emotions all turn you off or disappoint you
See it if you have to see every play ever written about Billy the Kid, curious about how the church will have an easy time using this set for service
Don't see it if you don't like repetitive dialogue with little actual & often contradictory content, want to learn about the outlaw, need action & character
See it if You enjoy non-linear shows based on historical characters that I magazine their interactions with other both living and dead.
Don't see it if You want to see a coherent show that paints a clear picture of who Billy the Kid was, or like good scripts. You don’t want to be bored.
See it if you want to see a show about what someone could have thought.
Don't see it if you want interactions that don't feel like 2 monologues. Maybe that was the point, but the "conversations" were overlong for me.
See it if You know someone associated w/the production. You're fascinated by Billy the Kid & want to see everything about him.
Don't see it if You want any illumination of Billy. You want life-lile characters that go beyond cliche. You value quality playwriting.
See it if you want one hour to feel like three. Perhaps I just didn't get it, but Billy the Kid philosophizing with ghosts just didn't work for me.
Don't see it if You want a play with an understandable plot. I got where it ended up, but it took a very convoluted and incomprehensible path to get there.
See it if you like experimental western historical fiction dramas in a historical off Broadway space.
Don't see it if you are looking for an entertaining evening with a linear plot.
See it if you'd enjoy seeing some good young actors perform on an interesting set.
Don't see it if you know anything at all about the life of Billy the Kid; dislike "talky" plays; like realistic dialogue; like some semblance of a plot.
See it if This one-hour play feels like three hours and some. The writing is riddled with clichés, for instance, "you are your own hostage".
Don't see it if The desert wind blowing, Billy, the Kid, gets his own version of "This is Your Life", the night before he bites the bullet. Must find exit.