See it if you are interested in the 80's-90's prostitute/trans Meatpacking District scene. More a play with music than a musical.
Don't see it if you are bothered by an uneven cast - some shine, others don't. Theater space is challenging for this production.
See it if do not mind a raunchy but entertaining story about transgender prostitutes. The music,songs and costumes are very good.Talented cast.
Don't see it if you don't like a raunchy musical about transgender prostitutes. This is usually not my type of show but I enjoyed it. Read more
See it if You loved the 90s & clubs like Roxy/Tunnel. Kevin Aviance's solo in act 1 is worth admission alone. Great to see him up close.
Don't see it if Management (while very kind) needs to be more prompt: they started 25 minutes late and had a 25 minute intermission. 2 hours 32 min total.
See it if you have a friend in the show; don't mind wasting a couple of hours in a hot theater; are interested in LGBT issues whatever the show.
Don't see it if you don't have a f friend in the show; you are tired of the same old same old stories of the mis-treated trans gender or transvestite person
See it if You want a small intimate production that is raunchy, very funny and entertaining and has potential with some fine tuning.
Don't see it if If your prudish and never made it into Studio 54 or are homophobic.
See it if you can look past the lack of polish, singing that is off key at times and appreciate the enthusiasm of a likable and motivated cast.
Don't see it if you want a production that has all the kinks worked out (no pun intended.) Or you are homophobic. Read more
See it if You enjoy light-hearted fun and are open-minded. You enjoy good tunes and lyrics. You can accept people who are different.
Don't see it if You are close-minded and easily offended. You agree with Trump. Read more
See it if you are enamored of erstwhile luminaries of the downtown demimonde, whose story this cliched musical tries to tell. Has its moments, but...
Don't see it if you want a polished, well paced, well designed production. Except for the costumes, and some fierce performances, this is amateur hour. Read more
"Through book and lyrics, Alexander displays an integral, but harsh time of growth in the LGBT community...The music of the show helps to elevate its darker themes...You simply want to fashion strut your way through its songs that splash between hilarious views on sex to the harrowing views we have of ourselves...You follow the charming cast, and their electric voices because everyone feels so at ease...It is like watching a genius be born."
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"A cross between 'Sweet Charity' and a queer community revival...'Trinkets' is consistently endearing, with flashes of fabulousness, especially in its costumes...'Trinkets' would benefit from editing, non-canned accompaniment and more rehearsal time; it frequently feels amateurish and clichéd. But it’s also refreshingly honest and raw. Unlike some other recent LGBTQ history shows, it doesn’t try to infuse its tale with today’s gender politics."
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“Watching this cast of characters bitch at each other might have had at least some fascination had the entire level of the production not been so unprofessional. It is difficult to rate the songs, also by Alexander, because only two members of the cast sing well enough. Either the singers are inaudible or totally off-key. Only Kevin Aviance as a divinely colorful club entertainer and Burgandy Williams as feisty doorman Kitten Control sing with any power or sense of what they were singing.”
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“The energy and specificity of the production fall short of the potential set forth by the writing. There are significant moments where the cast shines, but they are offset with low energy. As a whole, it feels like an early tech rehearsal, with actors marking through their parts but holding back from going full-out. There is tremendous potential in this play. Perhaps with more time in front of audiences, 'Trinkets' will find its footing and deliver on its promise of dazzle.”
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A modern-day reimagining of Shakespeare’s Hamlet centered around a queer, Black man.
A long-running revival of Kander and Ebb's satirical musical about lust, treachery, and murder.
New York premiere of a play shortlisted for the 2012 Susan Smith Blackburn Prize.