See it if Just don't! The only saving grace here are the sets, lighting and sound.
Don't see it if Mindbogglingly pointless. Poses no questions, offers no point of view, finishes nothing it starts. Read more
See it if You like SLOW dramas that don't have much to say with very uninteresting characters.
Don't see it if Didn't care about any characters & the story wanders aimlessly with no payoff. The musical numbers add nothing but minutes to the runtime Read more
See it if You want to see a unique and intimate story. All of the actors were terrific. I loved the way that music was used in the story.
Don't see it if ...You like big production values. I thought the set was very clever and was all that was needed, but it is simple. Read more
See it if you like new interesting theatre with good actors in it.
Don't see it if you like traditional story telling
See it if you like exploring real characters and how they cope with their aspirations and to others.
Don't see it if you prefer shows with action. Read more
See it if You don't mind a play that hints at stories that never get resolved. This one explores relationships/loneliness and unrealized dreams.
Don't see it if You want action, story arcs, fast-paced drama. Don't like Southern summer nights w some folk music. I liked it by the end-it grew on me. Read more
See it if You like slice of life drama's that don't resolve and have the patience of mathusala. Lovely ensemble acting, but the pace was painful.
Don't see it if You want conflict to resolve itself, appreciate reasonable pacing. You are expecting a traditional musical. The music was a "side note" ;-) Read more
See it if you like exploration of character - meandering, roaming, interesting, more like an exercise than a play
Don't see it if you are looking for linear, play with a punch or a strong story
"A beautifully acted production, directed with probing sensitivity by Anne Kauffman...How these people connect — and don’t — is given exquisitely tentative and awkward physical life...The cast is expert at conveying the self-consciousness that comes with such bumbling attempts. Each performer elicits a poignant eloquence from silence. Sometimes, though, those silences are filled with the irresistibly plaintive tones of down-home folk songs."
"Rachel Bonds’s short-storyish drama has lovely moments of reconnection, rendered with aching understatement by an excellent cast...As a whole, the play—which includes several original songs by the indie-folk duo the Bengsons—is oddly shaped and weighted, with a denouement that doesn't seem supported by what proceeds it. But although it doesn’t quite come together in the end, it casts a slender, evocative light."
"Bonds knows her characters inside and out, but so do we. This coming-of-age story never really enlightens the audience with new insight...It's a shame, since there is so much promise in the work. Bonds has otherwise created a series of intriguingly flawed characters, played with nuance by the seven-member company...But the show really belongs to Friedman...Friedman's astonishing slow burn is the almost irrevocably broken heart of the entire piece."
“Insistently, maddeningly elliptical, 'Sundown, Yellow Moon' is the stuff of a short story, or perhaps a novel -- not a satisfying drama. Everything is mentioned in passing and nothing is developed in Bond's script, with far too much of its brief, ninety-minute running time taken up with songs, by The Bengsons, which fail to illuminate the action. Anne Kauffman's direction can do nothing to impose any order on these shambling proceedings.”
"With a meandering plot line and slow pacing, 'Sundown, Yellow Moon' is like a beautiful, thoughtful, but ultimately unsatisfying summer evening—one where you go to sleep with a headache, if you sleep at all...A great sense of worry pervades the show, though untethered from any real urgency it exists more as an amorphous tension and sadness...Performances are strong throughout the talented cast...The play is at its strongest when it celebrates little life moments."
“Largely a convincing drama…While most moments of tension fly by on a pretty even keel, Peter Friedman really pumps up the volume. His anguish seems quite raw, and his connection to his daughters is unmistakably genuine…Director Anne Kauffman creates an entirely believable world, with enough charm and dimension. Similarly, playwright Rachel Bonds proves to be a solid writer, capable of carrying a firm story…‘Sundown, Yellow Moon’ is a hit.”
"The play's structure is unruly, with several turns of plot that are inexplicable and lots of narrative loose ends. As directed by the masterful Anne Kauffman, Bonds' dialogue sounds at crucial moments like overheard conversation. But some passages are so banal that they suggest authorial contempt for the character speaking...Kauffman and her cast do an admirable job with the script they've been given, and the effect is always engaging but seldom touching."
"A softly-glowing night-light of a narrative, a beacon of memory illuminating a forgotten childhood hallway...Each character receives a well-developed setup which invites us into their personal experience of this particular, but nameless lost feeling...The play feels a bit more like a first act than complete gesture–the exposition is so carefully set in place and well crafted that it is a bit startling when the play ends without really knocking down anything that it set up for us."