292 Theatre revives this Tennessee Williams one act about a hedonistic wife who has come to the end of her patience with her artist husband. Directed by Obie winner Everett Quinton. More…
The late '60s resounds throughout 'Tokyo Hotel' in staccato rhythms, which serve as breaks in the lilt of Williams' earlier dialogue, like a hesitation waltz. This revival of Williams' intense and personal play features the cast of the company's well-reviewed 2012 New York production.
“It’s just fantastic…Both Schick and Bartkoff are exceptional visual artists, as well as actors, and the material feels deeply personal to them. Bartkoff has a striking presence with a glorious vocal timbre…Director Quinton has crafted a fast-paced, high-energy, polished production and utilized the small space magnificently…This piece is drenched in raw emotions and allows the performers an opportunity to push the boundaries of their talent.” Full Review
“A fresh take...Quinton eschews the usual sensual, hothouse approach that most directors hew to, and simply lets Williams’ words speak for themselves—quite eloquently…The lines are delivered clearly and powerfully revealing their luster and ingenuity. Bartkoff is the perfect late-Williams ‘heroine’…This production makes a brilliant case for taking a closer look at this play and all of Williams’ later works.” Full Review
“A welcome event for anyone interested in the more arcane corners of the Williams canon...This new incarnation has been directed by Everett Quinton, who lends the proceedings a robust theatricality…Schick’s turn as Mark is reason enough to see the show…He’s thoroughly believable as a painter both obsessed by and terrified of his art…Bartkoff also gives a watchable performance…Throughout the play she is something to behold.” Full Review
“A deeply personal play that sets up a high-intensity, melodramatic struggle that digs into the characters' psyches and brings out their worst fears…Although the hysteria is a crucial part of the characters' conflict, the melodramatic style of this production is so pervasive that it robs the play of its nuance and poetry. There could have been a more gradual shift to bring out the intimacy of the scenes, which would make the climatic conflicts more powerful.” Full Review
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