See it if you like to explore the lost plays of the past; generally if you like shows at the Mint you will probably be interested in anything they do
Don't see it if you need all the acting to reach the same level; or if you only want to see revivals of masterpieces Read more
See it if you enjoy slow moving cryptic interesting shorts
Don't see it if you want your questions answered or are looking for resolution
See it if You are interested in Deevy's work and the Mint Theatre's mission. You want to see some good performances by actors playing multiple roles.
Don't see it if You want satisfying, complete plays, all of which work. Read more
See it if you like short plays with interesting characters in various unusual situations and relationships.
Don't see it if you prefer a well developed story with characters who you come to know slowly throughout the show.
See it if You like obscure plays that you have never seen a production of, and probably won't have another opportunity to do so.
Don't see it if You like earth-shaking theatre rather than quiet and incisive theatre.
See it if you want to see world premiers of short stories by the forgotten playwright Teresa Deevy about the positive and negative effects of love.
Don't see it if you don't like multi short plays performed in one evening about love as told through the eyes of a 1930's Irish woman's prospective.
See it if you like very old plays re-staged. Four short plays portray life in a bygone era. Very good acting a plus.
Don't see it if don't like subtle love stories.
See it if you care to see the forgotten works of a 20th century female Irish playwright.
Don't see it if you're impatient or easily bored.
"Bank smartly chose four pieces that play off each other well, forming a cohesive evening...Deevy's cynical viewpoints feel very modern...Bank takes his time, allowing Deevy's insightful dialogue to sink in, but this is somewhat of a liability in 'Holiday House,' which could move at a faster pace to bring out the comedy more. Still, kudos to Bank for bringing Deevy's work to New York audiences. The playwright was also deaf, which makes preserving her voice even more important."
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"Four short plays, each a miniature masterpiece of character, and each performed with insight by a skillful ensemble cast...Deevy’s dialog is taut and efficient, yet remains lyrical, covering the full emotional range of the human condition. Her plotting is often deceptively simple, but it’s Deevy’s insights into the Irish character that are the most telling...The ensemble cast of six actors earnestly cover the gamut, excelling in character differentiation, with mostly successful results."
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"Though the plays span several different working classes, from wealthy vacationers to hardscrabble laborers, there are consistencies to be found...In 'Strange Birth,' Costigan, as Mrs. Stims, shines the brightest...'In the Cellar of My Friend' is the weakest of the batch...A dark and meaty tragedy, 'The King of Spain’s Daughter,' closes out the night...Redmond, a powerhouse throughout the night, brings a palpable sense of danger to this role."
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“The slightest…is the first play, 'Strange Birth'...a pleasantly articulated sketch given several appealing performances…In 'In the Cellar of My Friend'…neither Bank's direction nor the actors' efforts can prevent the plot's development from seeming clumsy…'Holiday House' is a mild drawing-room comedy à la Noël Coward…Whatever…potential is present fails to ignite; almost as soon as we grasp the setup the play ends…'The King of Spain's Daughter' is perhaps the most serious of the plays.”
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"In selecting these pieces, Bank reports that he wanted to find continuity. It’s a wise approach, and one that seems to have led him to a profoundly universal theme: troubled love...If pressed to declare my favorite among them—not necessarily a crucial need—I’d say the first...With Davis supplying attractive sets and Varga finding the right costumes for the various across-the-strata characters, Deevy’s need to be recalled and honored is indisputably achieved."
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"Well directed by Jonathan Bank with a stellar cast...This was a night of nostalgia and days gone by...The first of the four, 'Strange Birth,' was also the best...I have long been a fan of Shively’s work and this just reinforced it...For her time Deevy is to be admired...It is lovely to go back and see what shaped our world in a time when life was much simpler."
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"I did not find any of them fully satisfying...'Strange Birth' is little more than a brief character sketch…'In the Cellar of My Friend' was the most self-contained piece, but the characters were cliched and the situation unconvincing...'The King of Spain’s Daughter' is grittier than the others, but the relationships among the characters were confusing. The production is admirable. The cast of seven is strong...One of the main pleasures of the evening is to see them play multiple roles."
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"Deevy was very perceptive in creating her characters and placing them in environments that dictate challenges...All directed by Jonathan Bank with precise understanding of Deevy’s work...It is intriguing to see how the playwright pays special attention to the problems of women in the various settings...The plays are just long enough to hold our attention without overstaying their welcome...Bank’s cast members come through in grand form."
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