"There’s a blank canvas quality to Ogawa’s crisp, evocative production that similarly feels like a visual invitation for personal association."
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"The production is spare and simple — a bare stage and a few sticks of furniture, street clothes, and efficient lighting — while the narrative is all over the map."
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"See it, especially if you’ve got some daddy trouble to work through."
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"With its reliance on audience-participation and metatheatrical devices, it's as if Ogawa was so worried about coming off as too insular, she felt a need to find ways to force her audience to confront the same questions she's been working through."
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"I cannot recall another show where, as the audience is leaving, I heard terms like 'touching,' 'tender,' and 'moving' being spoken aloud by so many. A heartfelt winner to be sure."
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"The 'Nosebleed' is simple; it’s charming and poignant. It pulls you in with its simplicity and lets you into a vast cavern of pain, love, and healing."
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much the same offbeat, intimate autobiographical play I saw ten months ago at the Japan Society, but I noticed one difference, which changed the way I reacted to it….Ogawa, director of both productions, has ratcheted up the intensity. ..The shift in tone to something more strident, less gentle doesn’t make the final scene of ritual reconciliation any less theatrical or impressive. It just feels a little less healing.
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