What are the worst insults you remember from a critic for a show they didn't like?
For example: I was going to leave at the interval, but forced myself to stay to the very end on your behalf, so you don't have to. Ghetto Klown, Charles Spencer, Daily Telegraph.
Clive Barnes in the Post for Moose Murders. The "review" was one paragraph on the first page of the entertainment section. He said something like, "This show is so bad I'm not going to waste anyones time writing a review."
Too bad. Because there were parts of MOOSE MURDERS that were funny enough I'd like to read a cogent explanation for the play's failure as a whole. Not that such an analysis would be in Barnes' skill set, but I'd like to hear it from somebody.
Just to be clear, Minnelli was an icon when Simon called her a rat; his quote re Dianne Wiest was from a review of "Bonjour La Bonjour", which I believe was her first New York play.
I agree, playbilly, but that made his cruelty even less forgivable. Simon was actually smart enough to have made a contribution to the art form, but that wasn't his aim, apparently.
(In fact, the Diane Wiest crack stuck in my mind for 40 years precisely because, by Simon's standards, it was so poorly worded. If you want to say she looks like a slot machine, just say so. Or better yet, don't.)
Frank Rich's entire review of MOOSE MURDERS was both kind (because he never mentioned anyone involved by name) and insulting (because it was just a hysterical pan, deservedly so).
The sexless casting of the principal roles by the director, Trevor Nunn, only adds to the musical's icy emotional infantilism. From her very first line - a line from 'The Master Builder,' no less - Ms. [Ann] Crumb's Rose is a tough cookie, unconvincing as a tempestuous star known for her performances of the classics or as a femme fatale who, in her words, 'could have a thousand lovers.' With her piercing singing voice and loud, fake laughter, this actress could shatter glass more easily than hearts. -Frank Rich on ASPECTS OF LOVE
People forget that John Simon also wrote some very lovely reviews. His review of WIT ends, "For this play alone, she [Edson] should be handed the Harvard English department."
Oh, and George S. Kaufman, as always, is brilliant: "There was laughter at the back of the theatre, leading to the belief that someone was telling jokes back there."
It's not the worst, but so the thread has some more activity :P - Variety's evaluation of Bernadette Peters in the recent FOLLIES revival was quite harsh.
"When those big ballads come along, we can't tell whether Sally is struggling with her emotions or Peters is just struggling with the notes." (lol).
"Victoria Clark replaces the miscast and vocally compromised Bernadette Peters" (ouch).
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000