See it if you already did (it's closed). It was a provocative and painterly invitation into a theater experience that one's linear mind won't get.
Don't see it if you need to "understand" every single theater experience. This is art. Experience it. Read more
See it if You enjoy plays, solo performances and are open to topics of race, culture and privilege. The topics are moving end accurately depicted
Don't see it if There is no reason not to see the show
See it if You’re up for a sharply written meditation on loss & loneliness, & a remarkably brilliant performance by Daniel J Watts that should be seen.
Don't see it if You need more narrative, action & plot than the two long monologues here provide, or if you need stories that neatly resolve. Read more
See it if Your devotion to the arts exceeds your love of all else; a fan of Daniel J. Watts; supportive of Black-helmed works.
Don't see it if expecting a traditional love story, total clarity, and an easy finale. This is beauty and tragedy, unreconciled. Read more
See it if This was largely engaging to me and had me thinking for days afterwards. I wish I could talk to someone about it. Fantastic actors.
Don't see it if If you just want light entertainment and don’t want to be challenged
See it if you love great acting and ambiguity; sometimes very funny & thought provoking; heartfelt
Don't see it if Feels like two separate plays; takes time to comprehend what is joining the two acts together; disturbing.
See it if You enjoy fabulous acting and heart felt dialogue.
Don't see it if You prefer fast action, blood, and gore.
See it if you like very emotional dialogue with 2 wonderful actors. This is really 2 solo shows in one. Very intense.
Don't see it if you don't like people talking about their bad relationships or solo shows. Each actor speaks separately.
"If Anyanwu doesn’t provide us with keys to the allegory, except to hint rather broadly that it involves the repression of artists in a totalitarian state, an actor as excellent as Watts cannot help but fill in the blanks."
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"Patrons likely won't leave with much more clarity than they entered with. But, at the very least, they will have had the pleasure of soaking up Anyanwu's prose, which floats from high poetry to conversational wit on the winds of her shifting jet stream of consciousness."
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“A bring-your-own metaphor party… you're unlikely to be bored; indeed, the performances, especially Watts', may carry you through the show. But one is left with the sense of a talented writer pursuing a private meaning with little regard for her audience. Whatever is going on is for her to know and for you to find out -- if you can.”
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"Anyanwu’s play is a meditation on love that strongly implies love inevitably disintegrates into loneliness. Or worse. The 70-minute, intermission-less three-hander is best, and rightly, appreciated as a muscularly poetic outcry."
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"Anyanwu possesses a charming and sunny presence which struggles to transcend her pretentious and unremarkable writing."
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Broken into two segments, the piece finds strength in its universality. The chuckles, gasps, cheers, and applause from the audience confirm that Love Letters touches a nerve, one that is unanimously shared by anyone who has ever loved, lost, or walked away.
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"Like much pandemic theatre, Anyanwu's often devastating piece is clearly influenced by a year of separation, seclusion, and shut downs. Its poignancy on the subject of being apart from people we love and losing things like live theatre is powerful."
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"Both Anyanwu and Watts are magnetic performers; under Patricia McGregor’s taut direction, they instantly draw viewers into lockstep with the lovers’ torments. Watts, in particular, animates so many facets of a single man that it’s plausible to deny he’s on stage alone."
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