The New Yorker · Mar 26, 2012
“Philip Seymour Hoffman finds all the crazy music in Willy Loman’s disappointment, in “Death of a Salesman.””
Reviews
10
Average
75
Highest
96
Lowest
34
The New Yorker · Mar 26, 2012
“Philip Seymour Hoffman finds all the crazy music in Willy Loman’s disappointment, in “Death of a Salesman.””
“Every nanosecond of this well-cast production is eloquent with craft and wit.”
The New Yorker · Nov 22, 2010
“Some, like Reubens, whose comic dynasty collapsed in 1991, after a public embarrassment in an adult-movie theatre, have funny taken away from them.”
The New Yorker · Oct 18, 2010
“The production never quite finds its rhythm, but Mamet’s writing certainly does.”
The New Yorker · Apr 19, 2010
“Addams’s poisoned brew is turned into Kool-Aid.”
The New Yorker · Apr 12, 2010
“In all the harum-scarum high jinks of “Lend Me a Tenor,” Ken Ludwig’s romp about opera (slickly directed by Stanley Tucci, at the Music Box), there is a lot of theatrical panache on display, but not one idea.”
The New Yorker · Apr 12, 2010
“The success of Logan’s smart, eloquent entertainment is to bring us in there with him.”
The New Yorker · Apr 27, 2009
“The show's emotional authenticity and Brian Yorkey's intelligent book make 'Next to Normal' a landmark musical about mental illness that doesn't shrink from the subject's complexity.”
The New Yorker · Apr 14, 2008
“Under the elegant, astute direction of Bartlett Sher, Lincoln Center's revival—the first on Broadway since the show's début—is a majestic spectacle.”
The New Yorker · Feb 19, 1996
“His gift for direct, compelling, colloquial lyrical statement seems to prove that the show tune can once again become both pertinent and popular.”