by Colin Thomas | May 8, 2019 | Review
Nassim feels like an endless set-up for an experience that barely arrives. Starting in 2011, playwright Nassim Soleimanpour made an international name for himself with a much better script, White Rabbit Red Rabbit. At that time, Soleimanpour wasn’t allowed to leave...
by Colin Thomas | May 4, 2019 | Review
This script’s heart doesn’t start pumping until well in to Act 2. Until then, it’s on the artificial life support of a visually dynamic production. In The Great Leap, American playwright Lauren Yee tells the story of a Chinese-American kid named Manford. Although he’s...
by Colin Thomas | May 3, 2019 | Review
Like a kid who has had the wrong kind of home schooling, Edward Bond’s The Sea is wildly creative—and undisciplined. It takes you to a refreshingly original imaginative world but then insists that you linger too long in some of the duller corners. Set in 1907, The...
by Colin Thomas | Apr 20, 2019 | Review
This play contains one moderately interesting idea. It comes very near the end of the 95-minute runtime. It’s a long wait. In Dave Deveau’s new script, Dead People’s Things, a young woman named Phyllis has inherited a house from her estranged aunt, who was a hoarder....
by Colin Thomas | Apr 18, 2019 | Review
I saw some phenomenal work while I was in New York City last week. I also some saw flawed performances and productions—but Broadway is so intense it felt like everything was on a grand scale. Ruth Wilson’s Fool tries to steady Glenda Jackson’s King Lear....
