"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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