Profile for Willster279

So am I, Reg. It think it was about most critics inability to recognize great naturalistic acting when they see it, but what with all the Uta dumping, now I'm not too clear. By the way, this ole thespian saw everything she did from "Woolf" onward, and she was never less than magnificent, and generous, and did, most certainly, practice what she preached. I shall now retire into the wings where I came form. Never to be heard from on this message board again. Promise.

Linda Lavin received some truly spectacular reviews for "Collected Stories" this morning, the best of her career, perhaps. While it's encouraging to see justice done, sadly, Sarah Paulson's work was not properly lauded. Most critics know so little about the art of naturalistic acting, if an actor doesn't bring out the lit batons, they take little notice of it. The fact is, Sara Paulson enables Linda Lavin's performance by her moment to moment unselfconscious honesty and her listening--OMG, th...

And what was with the deal of having the principals doubling as the various nurses, or doctors or whateverthehell they were--facilitators? What a lousy concept that was, and very jarring, especially since they didn't change character one iota. Or am I missing something? Oh heck: sloppy direction, color blind casting, bad wigs, shrill children . . . this thing had my name all over it--NOT!

Since the rave in The Times, it isn't even on TDF any more. I actually did the unthinkable (for me) and paid almost (a slight Dramatist Guild member discount)full price. May I suggest you go to www.rattlestick.org and see if you can't score an usher slot. They are great folks and it's a great way to see the show for free. I doubt they'll be doing Rush. FYI there is a reading of Annie Bakers new play NOCTURMA at Manhattan Theater Club (the 55th street house) on Monday May 10th at 7PM. Just sho...

Following a two weeks of seeing plays featuring some of the finest naturalistic actresses in this town: (Jennifer Mudge (Oorah!), Samantha Soule (Killers and Other Family), Jan Maxwell (The Royal Family) and OMG, Sarah Paulson (Still Life) it was fairly jarring watching Sienna Miller (After Miss Julie) pretty much give a master class in The British Technique of emotional indicating. The lady is fine in her non emotional scenes, but unfortunately, that's not the play, and unfortunately she doe...

Thanks so much for this info. You made me get off my duff, commit to a date and grab a ticket. Kritzer just makes me happy to be alive and a part of this biz we call show. Cheers!

Trying to stay away from the obvious, here are some of mine: Eric Roberts in Burn This Jesse Eisenberg in Scarcity Kristen Johnson in Scarcity Christina Kirk in Gods Ear Penny Fuller in Beautiful Child J Smith Cameron in Boys Good And True Michael Shannon in Bug Jermemy Shamos in 100 Saints You Should Know Deirdre O'Connell in Pyretown Dane DeHaan in End Days David Wison Barns in Becky Shaw Patrick Breen in Next Fall Cristin Milotti in Stunning Josh Grisetti in Enter Laughing Tobias Segal in ...

Unfortunately, no, but she does mercifully get the last monologue, which she does superbly. I'd not seen this incredible creature before "Stunning," so I didn't know what to expect. The roles are like night and day, and she is magnificent. I wouldn't have even known it was the same young woman.

Caught a performance of "The Retributionists" at Playwrights yesterday in which the leading actress is so ill equipped to handle the leading role, she pulled the entire play down with her. I'm not going to say her name, because acting is ephemeral, people do get better in this art form, and she shouldn't be damned for one misstep of casting. The question is, why would someone as savvy as Leigh Silverman even consider this poor woman? Every word out of her mouth sounds like a line reading, eve...

Probably the only honest moment he's had on stage in years. Meeee-owwww.

Glorious production. Add my name to the well wishers.

Can't advise you about cheap tix. I volunteer usher in order to see the show, but there weren't allot of empty seats last night. As for how is it: Well, after falling in love with his beautiful screenplay for "Longtime Companion" I must confess to having been disappointed by everything Craig Lucas has written since, and this one is no exception. Although there is some really lovely writing, I haven't a clue what the man is trying to get across with this one. That said, Playwrights Horizons ha...

Agree. Not horrid, just totally uninspired. HOWEVER, Barbour is dazzling in every respect. I loved his drunk at the beginning. He seemed to be channeling Tallulah Bankhead as Sissy Goforth in "Milktrain." Brave stuff, that. And the voice, well, what can you say, it's amazing.

The fact is, unless you're in the first few rows, the majority of seats in that first balcony (lets call it by it's rightful name, the fist balcony) if you have anybody of normal size sitting in front of you, are obstructed view . My question is, for the summer musicals at least, in lieu of re-sloping the balcony, why not put the orchestra in the pit and move the performers up stage? I don't know about you folks, but if it's a choice between seeing the musicians or seeing the actors, I'd opt ...

Has anyone mentioned that with the orchestra taking up the majority of the stage space, and the less than innovative staging, the majority of the action of "Damn Yankees" is played on what amounts to the front lip of the stage, making entire scenes all but invisible from almost the entire (what they laughingly call the) mid mezzenine? I'm just wondering.