The Violin NYC Reviews and Tickets
Show-Score Member Reviews (44)
See it if you like good acting in a comic/tragic realistic setting. Outstandingly acted by all three.
Don't see it if you can not stomach four letter words.
See it if you like slice of life stories from days gone by; you're interested in how choices influence lives for better or worse; brotherly love.
Don't see it if you're looking for fast action and fancy wordplay. This is a story about the intertwining of three lives over many years.
See it if you like good acting and interesting script
Don't see it if predictable plots and family situations are not interesting to you.
See it if you like to see connections among the three actors played out; you like very good acting
Don't see it if you find ne'er do well characters difficult to appreciate
See it if you like plays about interesting characters - it has a great set and great acting
Don't see it if you dislike slow plays - the first act was incredible slow but the second act got much better.
See it if you want to see a show that is layered, complex, and hits on a variety of topics, from family to integrity to gentrification to love.
Don't see it if you would struggle with lots of yelling and fighting onstage (mostly verbal, though occasionally a little more physical).
See it if Enjoyable New York story. Good writing & acting.
Don't see it if You are bored with New York stories being made into plays.
See it if you like something light, simple and straightforward
Don't see it if you prefer more depth and less predictability
Critic Reviews (18)
“Although the theme is heavy, the bickering produces a lot of earthy humor and laughs…To tell more of this tale would be to give away too much...Suffice it to say, it’s complicated and you’ll be somewhat surprised. The story revolves around caring, a debt owed and paid, and the cost of it all. I must admit it’s a really tall tale of circumstances thrown together and hard to believe, but it’s a winning cast and makes its point. And you have to admire McCormick’s reaching imagination.”
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“The relationship between the two brothers is intelligently explored...McCormick has that rare knack of being able to insert moments of genuine comedy that are perfectly timed within the sincerest of moments, yet don't take anything away from the gravitas of the scene. Discher seems to have tapped into the crux of the themes and nuances of the story, providing keen direction that never looks forced or unnatural…All in all, a gripping piece of theater not to be missed.”
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“A fascinating tale of brotherly and pseudo-paternal love…The engaging and slightly predictable story of characters that are so desperate for some sort of salvation plays out with an authentic air and convincing attachment. It’s fairly clever and well put together…The performances are all excellent and relatable, even when they veer into the implausible…The direction and the pace never faltered until the touching (and slightly not surprising) finale.”
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"The play has the nuanced feeling of plays by Shepard and Inge. The characters here are lonely, frightened, broken, and seemingly bereft of moral strength...Under Discher’s competent direction, the three actors navigate the treacherous terrain...Each character is forced to come to terms with his choices in the past and in the present. Whether that results in repentance, forgiveness, and reconciliation is not clearly answered and the edge of moral ambiguity remains sharp."
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“'The Violin' is about as old-fashioned, formulaic, and predictable as they come; it is straightforward naturalism without any of the fanciful, dreamlike incursions with which so many of today's playwrights like to distract us. The ending can be surmised at least two-thirds of the way through…The characters…are anything but consistent…There are too many times that the vastly experienced actors seem to be wearing signs saying, 'Look, I'm acting.'…'The Violin' is seriously out of tune.”
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"There is something so touching about Dan McCormick’s new drama 'The Violin'...Robert LuPone instills a past that has almost been erased from New York City...Joseph Discher’s direction is subtle and layered, giving McCormick‘s words the cadence that sinks into your soul. In the end I cried over the sweetness of unconditional love, but also of a time gone by. I look forward to seeing where Mr. McCormick goes next."
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“Despite some really good writing, ‘The Violin’ has several problems. It’s top heavy (Act I)–in need of editing...Gio...is the weakest character onstage…It doesn’t help that we don’t buy LuPone’s performance…Bradbury’s Bobby is well played…Isola delivers a marvelous Terry…Director Joseph Discher does a fine job indicating both emotional and the physical sides of the brothers’ relationship...The play didn’t get to me and should have."
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"These are familiar themes and there's a thrown-back quality to director Discher's production too...And the dramaturgy—dependent on anguished soliloquies about unrequited dreams and not-so-surprising revelations about the past—is a little timeworn too. But despite all this, I had a good time. And that's largely due to the committed performances from Bradbury, Isola and most especially Robert LuPone...They all chomp a bit on the scenery but it's fun to watch them do it."
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