Thom Pain (based on nothing) NYC Reviews and Tickets
Show-Score Member Reviews (204)
See it if you like Michael C. Hall, since you're going to get a lot of him - which to me was a nice thing. He was very inviting to the audience.
Don't see it if you aren't a fan of one-actor shows, since this one really is a pure, simple (in refined ways, however) long narrative
See it if You want to see a major star for not much money
Don't see it if You want a clear plot.
See it if You are a huge fan of Michael C. Hall.
Don't see it if While a fan of Michael C. Hall, this production became overly repetitive and wore out the joke out quickly.
See it if You want to see Michael C. Hall deliver a difficult performance in a masterful way. Thought provoking and entertaining.
Don't see it if You need a linear plot, or a plot at all.
See it if you like intelligent plays that are more stream of consciousness and focus on existentialism. Hall gives a great performance.
Don't see it if you don't like one-man shows and long monologues or plays where there is more plot.
See it if One-man show that is somewhat immersive with the actor (of TV's Dexter) talking and not talking to the audience. A bit repetitive (shorten?)
Don't see it if If you are uncomfortable with a performer wandering into the audience but does it more than once. If you don't like jokes that are repeated.
See it if You like Michael C. Hall. You like boring shows.
Don't see it if This show was painful to watch. I was so bored I was in pain!!!!!!!
See it if Eno's existential verbal doodling is well served by Hall's quirky delivery & Butler's dead-pan direction Could be about a emotional break-up
Don't see it if Nonlinear, nonuniform & nonsensical, drama can drive some screaming from the theatre Getting on Eno's wavelength (or trying to) is essential
Critic Reviews (25)
"Oliver Butler’s new production lets some fresh air and even a sliver of sunlight into the nocturnal depths of its title (and only) character’s imagination...But while I’m usually grateful for glints of optimism in these cynical times, I can’t honestly say that this transformation is for the good...Mr. Hall is best in relaxed moments of semi-improvised interaction with the audience. But this Thom is seldom lovably loathsome enough to make us squirm."
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"Eno’s text is a wonderfully light thing—a butterfly’s erratic passage through a man’s mind as he tries to narrate both his past and the constant, irritating demands of the theatrical present...'Thom Pain' has to fight a little too hard to be heard, where director Oliver Butler has given it a very handsome and polished revival. Michael C. Hall performs Eno’s script with immense charm (if not danger), but it’s a piece that requires the intimacy of a mind moving very close to yours."
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"Canon or not, faced with Eno’s play now, I found myself recoiling from its aggressive flippancy. There’s something brittle and deceptive about 'Thom Pain’s' systemic self-deprecation...The pleasure of the production is watching Hall in moments of simple, full presence...The problem is that what 'Thom Pain' wants to be and what the play is are two different things."
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"Sitting in the literal dark with the unpredictable narrator of Eno’s intellectually dizzying drama is still a dangerous thrill...Hall’s deadly deadpan is deeply funny, in an unnerving way...Hall tries his level best to be true to this self-absorbed character; but he just can’t help himself. He’s a fine actor, but a personable one, much too likable to pull off the character’s blinding, self-regarding narcissism."
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"The 70-minute monologue never really coheres into a discernible storyline, which will certainly prove frustrating for those looking for a linear narrative. But the play's deliciously clever wordplay and theatrical inventiveness provide myriad rewards for the more open-minded. Signature’s current revival particularly highlights the work's strengths, thanks to the actor's formidable charisma and charm.”
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"Eno's play is much more than just a playful comic lark...Michael C. Hall is dynamic enough as an actor to hold our attention for 70 minutes, keeping us rapt through Pain's quicksilver mood changes and evasive forays into whimsy. But a sense of pained inner life is lacking in Hall's interpretation, with the actor seemingly prizing speed over depth in delivering his character's ramblings...It's a tribute to the richness of Eno's play that it survives a relatively superficial approach."
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"I'm mystified by the entirety of Will Eno's play, beginning with the title, which seems to reach in the direction of cleverness before pausing, thinking about it, and giving up altogether...At times, 'Thom Pain' feels like nothing more than a series of delaying tactics with no discernible endpoint...Michael C. Hall, the star of this production, brings much more presence than his predecessor, along with some dry humor and tantalizing intimations of psychological darkness."
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"Lest one think Thom Pain makes for miserable company, Eno has created a highly entertaining, poignant, and intellectually stimulating evening...As Thom Pain, Hall is outstanding. He has the requisite charm to bring the audience into his confidence, while sporadically gesturing toward the seething bitterness and sadness just below the surface...Under Oliver Butler's direction, this is also a master class in comedy."
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