See it if you like tension between classes. Well develop characters. The hard dynamics of a relationship.
Don't see it if strong language and nudity is an issue.
See it if You like life affirming stories, stories about family relationships, tense and emotional boilovers, fan of Paul Wesley of Vampire Diaries
Don't see it if Slow paced family dramas turn you off, stubborn people's behavior exasperates you, uncomfortable with a gun on stage
See it if you enjoy seeing superb actors wrestle with a slightly unwieldy script.
Don't see it if you're not overly adventurous.
See it if You love catching the latest downtown/off-Broadway shows by new playwrights at a venue devoted solely to original work.
Don't see it if You want everything spelled out for you, or don't like slow-moving domestic dramas.
See it if You enjoy watching a piece where people act like people. Great acting, the actors almost seemed to want to bust out of the theatre.
Don't see it if You need a fluff piece or you're not interested in human connection and disconnect.
See it if The performances are great especially Katya Campbell.
Don't see it if There are some great moments but I found it a bit unfocused, would have liked to have seen more of Cal's struggles play out.
See it if you want to interpret everything you hear. The characters are basically unpleasant
Don't see it if you like a comprehensible plot.
See it if You enjoy oddball character studies. You want to see some really good acting. You like themes about family & love.
Don't see it if You want a play w/more of an actual story. You don't like character studies. You want clear motivation for characters.
"An earnest and tenderhearted play about the search for family…Staged with scrupulous attention to detail by the director, Adrienne Campbell-Holt, and an expert design team, this production shares its characters’ questing and sometimes awkward sincerity…Wesley, Campbell and Harbour convincingly convey the awkwardness of people out of their element. But they can’t disguise a sense of spontaneous character sometimes being subordinated to a writer’s cosmic purposes."
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"William Francis Hoffman’s powerful, too-brief 'Cal in Camo' is ruthlessly grown-up...In fiercely written dialogues, each damaged person unlocks another. Hoffman writes beautifully for actors: climactic, showcase scenes (if not yet the interstitial bits or the plot). In these bravura moments, Campbell is startling and Wesley is superbly vulnerable. But it’s Harbour, his massive buffalo forehead beetled down in confusion, who’s unmissable here. His performance fills the room."
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“An exercise in clinical depression that seems determined to be as off-putting as possible...The playwright is so busy drawing neat little dramatic patterns that he never gets around to creating characters who make any sort of psychological sense...As Flynt, a one-dimensional icon of suffering, Paul Wesley is hopelessly lumbered...The people don't make sense, but as long as the symbols are in place, I guess the author is happy.”
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"Playwright Hoffman offers a quirky, weirdly compelling if not totally satisfying take on contemporary American life. Mr. Hoffman’s dialogue is richly expressive bordering on poetic and enhances his true-to-life melancholic characters. The plot is slender and problematic...Adrienne Campbell-Holt’s direction realizes the material with the thoughtful performances and proficient physical staging...'Cal in Camo' is interestingly odd but is off-kilter."
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"Their mysteriousness may be an intentional product or simply a result of the characters being a means to the author's end; either way, it can obfuscate the action of the play, or at least distance us from what is otherwise a production characterized by its immediacy. At its best, though, that immediacy can certainly be quite gripping...In this production, with the care of Campbell-Holt and the commitment of the actors, it's the power of feeling that leaves the strongest mark."
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"Directed with precision and style by Adrienne Campbell-Holt, 'Cal in Camo' often gets away with a too-heavy use of symbolic imagery by having the actors play everything right on the surface...Harbour is terrific as the man who tries to deny his primal instincts in the name of civilization, while Campbell is devastating, and ultimately haunting...Wesley, however, is the play’s true revelation...He brings a childlike wonder and sweetness to a part that might have been played just for show."
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“Although the ensemble cast members deliver impressive performances with authenticity and believability, Mr. Hoffman’s script is somewhat less impressive as is Adrienne Campbell-Holt’s direction. The script is often less than believable and the characters' traits are not always consistent. Ms. Campbell-Holt’s direction is serviceable but rarely stretches beyond the basics...However, ‘Cal in Camo’ is at times an engaging psychological study of one fractured family system.”
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"‘Cal in Camo’...is a well-acted, naturalistic, emotionally taut, kitchen-sink drama peppered with ambiguity...Some of it is straightforward, some is surreal, some is funny, and some is opaque...‘Cal in Camo’ teeters too often near symbolism's slippery sinkhole...but the play's savory dialogue and credible performances grasp you tightly enough to keep you involved throughout its 70 intermissionless minutes."
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