The Big Broadcast on East 53rd NYC Reviews and Tickets
Banal, Quirky, Clever, Confusing, Funny
About the Show
Playlinda Productions presents a world-premiere off-the-wall comedy, which explores how "fake news" impacts a marriage.
Fed up with her husband's unconventional ways, a sophisticated New Yorker "finds" his obituary in the 'New York Times' and plans his funeral, forcing our hero to prove he is alive and kicking. This highly theatrical and timely romp explores what happens when we are ruled by our need for love and approval.
"It is chock-full of humor, wit, absurdity, color, flavor and every other noun that not only makes it the grand show it is, but also gives me a particularly hard time to properly convey just exactly how very much I enjoyed being there...Presents a great concept that transposes itself extremely well to the stage...What a beautiful play this is, and not in the aesthetic or romantic ways in which we see beauty—more so in the way that people see great things and nod their heads in appreciation."
"The thin premise of Ray's falsified death is the driving quandary behind this entire play, a trivial subject which is exhaustingly beaten to death by the play's end and isn't complex enough to sustain a 90-minute production. A play about fake news is certainly a clever and timely idea, but the shallow plot on which this play is founded has very little to say of any significance. The result is a flat production which leads to an unsatisfying and unfulfilling theatergoing experience."
"Its bumpy ride is not quite flowing. But it’s not always choppy either...Full of wacky moments, but not wacky enough to produce many laughs. You can hear lines that want to be punch lines, but they just don’t have enough punch. Which is a shame because Brukenfeld has a great ear for dialogue...In large part, the play is about the media’s hold over us. But its humor, at least until the second act, does nothing to skewer a subject that should be fair–and fairly accessible–game."
"This ‘80s-style throwback antic comedy is deftly directed by Charles Maryan, with fantastic timing. Visually, the production is striking...While the jokes land and the ensemble carry the energy well, the play at times seems a bit too much like its setting...An interesting concept that pales behind lazzi and caricature-like traits. For the genre, it succeeds, but it feels more like a revival of an aesthetic than a reinvention of it."