See it if you like theater that challenges conventions of staging & script, & you like performing that is not confined to the embodiment of character.
Don't see it if you think the extensive use of direct address to an audience in the theater—storytelling—is a kind of cop-out. Read more
See it if you like cutting edge theater and can embrace a bit of confusion to see an old story in a very new light.
Don't see it if you like traditional theater and are put off by gender fluid characters.
See it if You want to support Target Margin, an important training ground for theater artists, as they pioneer theater in a new part of town.
Don't see it if You are uncomfortable with non-traditional productions in unfamiliar environs. But get over yourself, taste the breadth of experience.
See it if you enjoy meta-theatrical storytelling, poor theatre-esque design, and non conventional staging/seating arrangements
Don't see it if you dislike non-proscenium spaces, meta-theatrical conventions, or sound demons
See it if you like experimental and devised theatre; are familiar with/a fan of "One Thousand and One Nights;" sitting on a couch sounds intriguing.
Don't see it if you don't want to trek out to a sleepy/industrial section of Brooklyn for a show; you want a more traditional theatrical experience. Read more
See it if u like experimental theater, appreciate a talented ensemble which includes tech crew, want 2view show comfortably where u would never expect
Don't see it if if you do not like experimental theater, are not willing to open your mind to tales u may not be familiar with told in a very different way Read more
See it if you are in love with Arabian nights and already know some of the tales.
Don't see it if you like linear plots.
See it if You know the playwright, director or actors and want to support them.
Don't see it if ... you want a fulfilling theater experience. Read more
"It is surprisingly easy to follow the plots and characters within these stories framed by stories framed by stories. The ambiguity that pervades this production is deliberate and of a different order...If this show is inevitably and openly defined by a 21st-century gaze, it also revels in the timeless and transcendent power of its source material. Watching 'Pay No Attention,' we are much like Scheherazade’s enraptured sultan, still listening to what she has to say, and still trying to make sense of it."
"It is clear that this cast has an almost academic grasp of the material...At times, however, the plot lines are difficult to follow and I got lost in the back and forth of the piece. Though I felt taken care of by the earnest ensemble, it’s hard to sink in and connect when a piece is this stylized and devoid of vulnerability...Every inch of the massive space is used expertly...With song, dance, and talented storytellers, 'Pay No Attention to The Girl' is inventive and fun."
“‘Pay No Attention’ founders as often as it succeeds...Roles are assigned for the most part by gender...It feels like a missed opportunity not to play more directly with the gender issues highlighted in the stories...The most effective sections were the most straight-up storytelling...Stabs at different styles and techniques–clearly scripted stumbles and verbal slips; movement sequences with over bright, overloud pop music; the occasional song–didn’t connect as well with me.”