See it if you want to see an amazing production with an excellent cast.
Don't see it if you dont like uncomfortable seats in a stadium like theater Read more
See it if you want to see an unforgettable performance in a mesmerizing production of a play as revolutionary now as it was when it was written.
Don't see it if you are looking for light entertainment. This is a powerful, avant garde production pitting blue collar against the 1%. It hits its mark.
See it if You like great acting and amazing staging. It was written in 1922 but was very timely. It's a very physical show. Bobby Cannavale was rivet!
Don't see it if You are looking for something light and fluffy. It's very intense.
See it if Every scene in this powerful expressionist story takes place in a visually stunning expressionist set. Great acting and symbolism.
Don't see it if You prefer something happier or more realistic. You don't want to think about the meaning of the colors, masks, balcony, etc.
See it if You love Bobby Cannavale - inventive staging - and O'Neil in short doses.
Don't see it if You hate Eugene O'Neill.
See it if You enjoy Eugene O'Neill and expressionist or existential theatre. Absolutely stunning staging & incredibly strong work from Bobby Cannavale
Don't see it if You don't enjoy avant garde theatre or prefer easy to swallow narratives. This is out there, in the best possible way. Do your homework!
See it if You must see it. No if's. A once in a life time experience!!!
Don't see it if You hate everything or want a big splashy musical. Basically, see it!!!
See it if just WOW! what a production..innovative and exquisitely done. The cast was magnificent and the story remains compelling today.
Don't see it if you don't like Expressionistic theatre and having to pay attention. Read more
“A mesmerizing revival…O’Neill’s nightmarish parable of alienation and class conflict still feels close to home…Mr. Jones’s interpretation is ravishing enough to please the sort of aesthetes who worship Robert Wilson’s exquisite dreamscapes. But this production also rings with primal pain...Mr. Cannavale’s emphatically flesh-and-blood presence makes him the perfect odd man out in a dehumanizing world of machines, literal and otherwise…The supporting cast is excellent.”
"A staggering, last-word revival...Cannavale's body is giving us expressionism while his smooth interpretation of the speech is giving us realism...It anchors a production, gorgeously directed by Jones, that is otherwise full-tilt expressionism on the grandest scale...The performances of the other supporting actors are just as subtly calibrated...What I’m not sure it matches is O’Neill. You don’t have the sense, reading the script...that something this chic could ever have been what he sought."
“Yank is an embodiment of the playwright’s ideas about theatrical naturalism and how to elevate it beyond the proscenium and make it deeper, spookier…Reading ‘The Hairy Ape,’ you’d never imagine what Jones comes up with, and those surprises are the reason the production is such a thrill…Jones’s talent is genius. By engineering this spectacle of O’Neill’s tragedy, he makes the playwright’s twenties modernism modern now, just for us, and it’s astonishing.”
"Environmental theater doesn’t come any more powerful than the staging of 'The Hairy Ape'...Cannavale superbly brings his raw, macho physicality to the leading role...The play is not exactly subtle in its language and themes. Director Jones exploits that artificiality by visually emphasizing the elemental aspects...Throughout the piece there are striking visual tableaus...This landmark production provides a sense of the bone-chilling excitement it must originally have generated."
"The cognitive dissonance between a work of art and a setting that inherently encapsulates the disparities at its heart is a jarring but ultimately effective tool...Director Jones also helmed a 2015 production, and the newly added American actors benefit from his intimate knowledge of the material...Cannavale brings an animalistic physicality to the central role...O’Neill’s cutting critique of American social and economic structures couldn’t be more relevant."
“A stunningly beautiful staging…If you temporarily submit to the manipulations of O’Neill and Mr. Jones, you also come to see that the play is both more and less than agitprop. It is more because there are magnificent soliloquies in which we hear the rhythms and phrasings of actual people…At such moments, if you forget the author’s hectoring, you admire his artifice. The play is also less than agitprop, because it doesn’t fully accept the message it begins to peddle.”
"Could any play be timelier than this wrenching, tragic cry of an outsider looking for acceptance?...There’s nothing realistic about it, except for the emotional truths of alienation and dehumanization that suffuse the events leading to the play’s inevitable, tragic climax. Against this, and with the assist of a brilliant company, Cannavale gives a performance that’s utterly lacking in affectation, so completely open and raw, that by the end we’re left spent as well as rattled to our own core."
“The lives of the working stiffs in Eugene O’Neill’s ‘The Hairy Ape’ may be brutal, but the portraits of their labors in Richard Jones’s visually stunning new revival are sublime…Surrealism and naturalism mix marvelously…The tableaux are mesmerizing…The visual panache extends all through the production’s 90 minutes…With excellent assists from the ensemble...the 'nightmare distortions' of 'The Hairy Ape' come exhilaratingly into focus."