Loren Noveck

“If you’re going for sheer Broadway spectacle, there’s a lot to enjoy in The Lost Boys.”

“...Branden Jacobs-Jenkins is dealing with the deeper shames of American history.”

“Derivative where it’s not baffling, and paper thin where it’s not derivative, Once Upon a One More Time can’t even pull off the baseline achievement of jukebox musicals: make the songs sound good.”

“Similarly, Grey House as a whole sometimes seems to get trapped between the all-too-human horrors of the murderer, the rapist, the abuser, and the grand guignol horrors of the haunted house.”

“The production numbers bring the house down, but there’s not much else there.”

“For a short piece, the build is a little slow, but once For Colored Girls kicks into its fullest register, it's full of joy and grace – even when telling tragic stories.”

“This act of storytelling, through the gifted intermediary of O’Connell, can, I hope, work as the same sort of release from this period in her life.”

“And Zainab Jah, as #2, was a standout even in this distinguished company: kinetically fierce – a knife-edge of a performer who bristles with danger.”

“McDonald does a remarkable job relating to the ‘babies’, and we see Suzanne’s rapid growing-up process through the shift in the ways she handles them: dull fear and resignation when they’re first placed in her arms, an anxious tenderness when she has to take one to the doctor.”

“On Broadway, it feels a little like one more example of the thing it claims to be critiquing.”

“Tongue firmly in cheek, FastHorse has constructed the perfect mirror for the archetypal American theater goer (and for that matter theater maker).”

“For a Stoppard fan, it’s a delight: so rich, so dense, so silly, and paced so superbly by Marber and a uniformly excellent cast that you hardly realize how very much information is packed in.”