“This beautifully designed, maddeningly aimless show...demonstrates how difficult it is to theatricalize a mindscape...The biggest coup...is Hall’s magnetic presence...The text is verbose and vague, and so comically overheated that it can feel like a parody of Tennessee Williams...What’s most frustrating is that...'Soundstage' dispenses enough tantalizing nuggets to make you wish a dramaturge had helped harness Roth’s imagination...Ultimately, there is no emotional payoff."
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“A lusciously designed, 60-minute queer exorcism...Roth’s construct, while technically impressive with its crisp, expertly framed cinematography and intricately choreographed audio-visuals, does not really push the human conversation forward. Instead, it’s a heavily mediated backward glance that might be meaningful to the creator, but feels dated and vaguely unnecessary. When technology is the freshest thing onstage, there may be a problem.”
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"The technical composition is flawless...Roth gives a seamless performance...The entire piece feels like a kind of dance...Some beats teeter between vulnerable and self-indulgent. There’s a great deal to take in and it can be challenging to know where one’s attention ought to fall...However, once one lets go and allows themselves to sink into the haunting, out-of-time world...’Soundstage’ is a singular experience for audiences that enjoy something off the beaten path.”
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"A compelling stream of consciousness that flows along with the sound waves and vintage film footage. With stunning technicality and poetic sensitivity, the show paints and composes the complex emotions when we are left alone, discarded and exiled into our most profound addictions and desires...It is rare to see such high-quality execution of all the technical characters including...synchronization between live actor and pre-recorded footage."
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