Review: Reverse Transcription

Of course, changing the story is what Adler and Petosa are doing to Chesley, but not that much. The parallels between the two works become a bit schematic when, in the final scene, Old Dog and New Dog reconnect, and Old Dog is the one looking to head north. The newer play unabashedly embraces a morbid romanticism, as the characters’ lives and dreamlike connections take on a cosmic aura.

Edward Karam – Off Off Line
Review: “Sex, Grift and Death”

Equally matched, Jackie Sanders and Bill Army on the one hand move like dancers, yet on  the  other never take us unrealistically out of the connective moment. She presents roiled and hungry, he, opportunistic and though somewhat reptilian in movement, ultimately kind.

Alix Cohen – Women Around Town
Review: “A Small Handful” from a Towering Poet

The tight, medium close-up framing of Langton harmonizes well with the confessional mode of Sexton’s poems, whether in the direct address of the first section’s repeated “Husband” or the more monologic narrative of “Music Swims Back to Me.”

Leah Richards – Thinking Theater NYC
Review: Standing on the Edge of Time

Faraone forestalls the inevitable Zoom-ness of streaming plays with an appealing, overtly theatrical opening including atmospheric shots of an old theatre and a ringmaster sort of person discussing exactly what theatre is (“Like the inside of a human heart. Only bigger, and not as empty.”).

Wendy Caster – Show Showdown
REVIEW: PTP/NYC’s ‘Lunch’ rich, searing, and absorbing’

Lunch makes the most of every moment of its approximately 40 minute runtime through Berkoff’s rich and enthralling script and groundbreaking style of dialogue.

Jeanne Denizard – The Sleepless Critic

Lunch, which runs about as long as it takes to eat lunch, is a tasty treat, a delicious morsel about two very different people who come together by chance and reevaluate their lives as they reaffirm their identities.

Mark Rifkin – This Week In New York

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New York Times Review: ‘Pity in History’ (Photo by Stan Barouh)

Solidly anchored by Mr. Dykes and Mr. Tindle in comic performances veined with sympathy, this production proves the piece’s merit for the stage.

Laura Collins-Hughes, New York Times

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Onstage Blog Review: ‘Arcadia’ (Photo by Stan Barouh)

Audience members should not try too hard to “figure out” what Stoppard has already researched and written. Focus, instead, needs to be placed on the “game” of the play itself, its dance, its waltz, its fun. And Cheryl Faraone has understood that game and its rules with consummate insight and skill. It is always a pleasure to witness her vision take shape on the stage.

David Roberts, Onstage Blog

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One Magazine Review: PTP/NYC 32nd Season (Photo by Stan Barouh)

They are an extraordinary company.  They choose powerful, thought-provoking work, and the Potomac Theatre Project – actors, directors, technicians – work together in such a seamless way, there are no chinks in this armor. PTP/NYC is necessary theatre, right here, right now.

Lisa del Rosso, One Magazine Review

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TimeOut New York Review: ‘The Castle’ (Photo by Stan Barouh)

Shakespearean in scope, Brechtian in attitude and Jacobean in sensibility—one stroke of pitch-black comedy finds a woman condemned to drag around the rotting corpse of the man she has murdered—The Castle is a scabrous masterwork.

Adam Feldman, TimeOut New York

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Backstage Review: ‘Serious Money’ (Photo by Stan Barouh)

Churchill’s piercing and merciless portrait of the world of stocks, trades, and arbitrage has a frighteningly familiar resonance.

David Sheward, Backstage

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New York Times Review: ‘Serious Money’

In the Potomac Theater Project production, the over-the-top comedy remains raw and urgent, a scathing critique of capitalism that has no use for balance.

Daniel M. Gold, New York Times

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New York Times Review: ‘Victory: Choices In Reaction’ (Photo by Stan Barouh)

The show’s energy — shot from a cannon by Richard Romagnoli, the director — blazes like fireworks in the hands of an outstanding ensemble cast.

Anita Gates, New York Times

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Woman Around Town Review: ‘Victory: Choices In Reaction’

Romagnoli’s production is a stimulating, in-your-face thrill that is grounded by a subtle through-line of sexual guilt and endurance at all costs.

Alicia Schaeffer, Woman Around Town

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Stage and Cinema Review: ‘Lovesong of the Electric Bear’ (Photo by Stan Barouh)

Lovesong of the Electric Bear is charming and funny portrait of a man who helped to shape the world in which we live.

Alexander Harrington, Stage and Cinema

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Theatre Is Easy Review: ‘A Question of Mercy’ (Photo by Stan Barouh)

Completely gripping. This life and death tale questions the moral implications involved with assisted suicide, and the honor behind the action. A serious and provocative night at the theatre.

Molly Marinik, Theatre Is Easy

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TimeOut New York Review: ‘No End of Blame’ (Photo by Stan Barouh)

The cast, many of them recent Middlebury College graduates, impress consistently, perhaps because they follow Draper’s lead: Along with Christopher Duva, who plays Bela’s not-so-constant companion, he offers a course in boldly drawn character.

Helen Shaw, TimeOut New Nork

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Backstage Review: ‘Politics of Passion’ (Photo by Stan Barouh)

Director Cheryl Faraone, Potomac’s co-artistic director, has staged things fluidly: Actors simply rearrange chairs and other furniture to suggest varied locales. The Potomac Theatre Project is a welcome addition to the New York theatre scene.

Ron Cohen, Backstage

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