See it if you like relevant, challenging theatre.
Don't see it if you want to escape.
See it if u want 2 c a solo/writer/performer par excellence brilliantly relate the story of racism without judgment, u love poetry
Don't see it if u don't want to hear more than one side of a sad reality, r afraid to think outside the box or don't want 2 c what u never thought of before Read more
See it if Fantastic Chamaeleon like one woman show Dael Orlandsmith Does multiple characters so well you believe you’re watching Different characte
Don't see it if I can’t think of a reason not to see it it was wonderfully done.
See it if you want a nuanced take on race and enjoy solo performances. Dael accurately captures the thoughts and actions of a wide cast of characters
Don't see it if your mind is closed to the complexity of racial issues. Even the hypocrisy of liberals is challenged. This play makes you think.
See it if Solo actress plays various St Louisans giving their perspective on the M. Brown killing. Compelling, chilling portrayals of the characters.
Don't see it if You don't want to confront racism, classism, and fear in the USA. This show isn't just about Ferguson. It's scary.
See it if you want a compelling, engaging story and riveting performance. The evening is entertaining as well as educational and moving. Masterful.
Don't see it if you don't want to reflect on today's most note worthy news stories.
See it if A compellingly honest snapshot of race in America, and a moving and empathic dissection of Ferguson
Don't see it if you want to see a show that fits into a clear genre and that unfolds quickly, or if you don't want to see a one woman show
See it if solo show about the Michael Brown killing specifically & racism in general; she plays a variety of characters of various ages & views
Don't see it if don't like solo shows where the actor plays a variety of parts no matter how well done Read more
“Brings the questions, the pain and even the unspeakable thoughts of hundreds, if not millions, to life. ‘Until the Flood’ is an urgent moral inquest...Orlandersmith digs deep enough into each character, and with such decency, that no segment seems obligatory. Even the worst human among them is allowed his back story...Perhaps 'Until the Flood' is more effective for leaving you uncertain about which genre it falls into...Moves from character to character with minimal fuss.”
"Eye-opening and quietly moving...Orlandersmith brings an entire community to life by channeling her interviews with people who were on the scene of this inflammatory racial incident...Orlandersmith slips in and out of character...It’s hard to say exactly what Orlandersmith does that makes all these people come to life...Somehow, she gets under these black skins and white skins and finds the common humanity of people who are just…people.”
“A heartrending demonstration of the potential of art to reach across cultural boundaries and generate the kind of empathy that could potentially help bring us all closer together...Part of the appeal of ‘Until the Flood’ lies in seeing the dazzlingly nimble ways in which Orlandersmith transforms from one character to another...Orlandersmith's virtuosity as a performer never overwhelms the human beings at the heart of this show...A production that impresses in its simplicity."
"’Until the Flood’ is compact and hard-hitting...Orlandersmith is a brilliant listener...adding to the impact of each vignette is her skill at transforming herself into each of the speakers at a moment's notice...This brief, fast-moving piece maintains its grip from first to last, thanks to Orlandersmith's riveting work and Keller's tight direction...A brave and powerful testament that holds up a devastating mirror to our tribalized society.”
"Searing, bleak, and vividly performed...It’s a powerfully well-balanced examination of race relations in the United States with hopeless conclusions...Orlandersmith skillfully organizes the material into short monologues that are revelatory, insightful and often tinged with humor...Varying her vocal inflections and altering her physiognomy she conveys the essence of each individual. It’s a riveting performance of range and depth...Theatrical, gripping, and pessimistic."
"Under Neel Keller's direction, it not only becomes a probing study of a community but a revelation of how blacks look at whites, and vice versa...'Flood' doesn't fall into any tidy theatrical genre...No matter what you call it, however, it's a powerful piece of theater...The story that 'Flood' tells is a sad one. It suggests that no satisfying answers will ever be found regarding the Michael Brown case. Perhaps the real takeaway is that the conversation on racism in our country must continue."
"These believable and authentic characters – five white and four black – all portrayed by Ms. Orlandersmith in powerful performances, share their 'spin' on the shooting of Michael Brown...The strength of the piece lies in this honesty and authenticity...Ms. Orlandersmith creates nine distinctive characters with subtle vocal inflections and brilliantly crafted expressions and body movements...Neel Keller’s direction is unobtrusive and gently allows the poet to work her magic."
“The goal is to demonstrate the multiplicity of positions on the spectrum of racial attitudes and opinions...There may be no major surprises but it's definitely healthy to hear the diversity of views so humanly represented…Audiences will receive a first-rate performance addressing a compelling problem in American society. It doesn't attempt to offer solutions but if it can keep the conversation going it will have done its job.”