"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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