See it if Alternative theatrical approaches to stripped-down Russian classics interest. Engaging cast, set & audio but loses steam & doesn't resolve.
Don't see it if Russian drama or experimental, interactive plays with long speeches, strobe lights or techno music are issues.
See it if You enjoy immersive staging. It's a fun experience but it's primarily due to the creative and engaging staging.
Don't see it if It's confusing at times & at only 75 minutes the show could benefit from cutting 10-15 mins. That being said, I stil had a good time.
See it if You know/liked the book, you enjoy creative staging and more artys shows.
Don't see it if You like more traditional plays, if you aren't into Russian Lit
See it if You want to see something different in theatre.
Don't see it if You only enjoy traditional stagings.
See it if you like perfomance pieces with your dialogue. Very creative staging/projections. Good distillation of the original for 75 min. Solid acting
Don't see it if you want more theater & less "art". The performance pieces should be shortened to be more illustrative than demonstrative. Niche style.
See it if You appreciate Dostoevsky's existential ruminations and are open to creative staging
Don't see it if You are expecting "42nd Street," only like plays that work completely, or are driven nuts by awkwardly moving actors
See it if you appreciate mashups of old works with modern tech. You like plays that use audience space.
Don't see it if you don't like Russian karaoke or plays that make you go WTF?
See it if like a close view of experimental theatre, especially if you have some familiarity with the characters and themes of the novel.
Don't see it if you prefer a clear, linear narrative or are uncomfortable with being extremely close to the actors.
"It is a novel conceit...Kublick is superb as Prince Myshkin, crafting his performance into a blend of dashing hero and sad clown. His seizures are powerfully underscored by Ray Sun Ruey-Horng’s disquieting video designs...Director/choreographer Kristin Marting juggles all of these moving pieces with a strong eye for color and shape. Indeed, the visual impact often rivals Dostoyevsky’s text...'Idiot' is state-of-art Dostoyevsky."
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"There were arresting moments in this production…But, for the most part, inventive use of video, gesture and dance, the dramatic story and interludes of deeper rumination do not, finally, cohere to immerse us in anything more than that spectacle itself. We are entertained but, finally, not enlarged in the course of this production."
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"The play doesn't live up to its conceptual or theatrical potential, in part because Lyons's script slashes Dostoevsky's massive novel down to 75 minutes and four characters. Neither the scenes nor their set elements ever fully cohere. The show has some high points: Daniel Kublick plays Myshkin with a touching naïveté, and multimedia elements bring his seizures vividly to life...But ultimately, like Dostoevsky's Prince, 'Idiot' doesn't ever find its way."
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