I feel like Jesse Green didn't understand this play or maybe he just didn't relate to it. He's certainly entitled to dislike it, but most of his review seems like he views the play as very 'on the nose', when it's anything but.
This play, more than anything I've seen, all year, has kept a place in my head and I think about it, often. I'm still certain, this will be near the top of my favorites list at the end of the season.
Agreed! Especially his closing paragraph. I do think the acting rang a little false for me, but the production and direction were flawless and the themes were interesting.
Is it just me or the costumes are just terrible? Anna Camp's dress would get butchered by any sensible runway critic (insert Michelle Visage's "it's a piece of fabric" gif here). McGovern's skirt looks like harem pants because they fall so straight, probably because they are very heavy and don't have any hoop-like support. Some of the other ones are just as bad. It's not even the 1920s sensibilities. Is it somehow part of the play (which I have admittedly not seen) that Conway women were fashion-blind?
Caption: Every so often there was a rare moment of perfect balance when I soared above him.
Nicole Serratore (The Stage) is mostly positive: Review
Sara Holdren (New York/Vulture) is mixed-to-negative: Review
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
hork said: "I'm still no closer to figuring out if I should see this. It's pretty much the definition of "divisive.""
The way I see it, the fact that it's divisive should be an INCENTIVE to see it. Find out for yourself! Some people love it, so you might love it too. Some of my absolute favorite plays and musicals have been highly divisive, if not widely hated. I say go for it and form your own opinion (and this is coming from someone who did NOT like Time and The Conways!)
Well, the thing is, I only have one free day left in my New York trip next month. I'm pretty sure I want to see a play, but I'm not sure which one, so I was waiting for reviews to help me decide. But there's no clear-cut "must-see" play. But I think I'm still leaning towards this one.
hork, if I were to only see one play in New York, I'd go with either Mary Jane or The Home Place depending on how long you're in the city. Both are excellent and far more enjoyable than Time and the Conways.
Valentina3 said: "Is it just me or the costumes are just terrible? Anna Camp's dress would get butchered by any sensible runway critic (insert Michelle Visage's "it's a piece of fabric" gif here). McGovern's skirt looks like harem pants because they fall so straight, probably because they are very heavy and don't have any hoop-like support. Some of the other ones are just as bad. It's not even the 1920s sensibilities. Is it somehow part of the play (which I have admittedly not seen) that Conway women were fashion-blind?"
I caught the matinee today. I thought the costumes looked fine and era appropriate. It's just you.
Row A seat 106 was AMAZING & as I was scanning back & forth the various cast members across the stage, I realized that those seating farther away may not be able to catch all the infinite variety of reactions & expressions that I was entitled to with the special seat. A super-talented cast of infinite depth & variety overseen by a wonderful director.
I really didn't know anything about the play & how it's part of J.B.Priestley's "Time Plays" series each constructed around a central theatrical device where characters' lives are affected by how they react in the present to an unusual temporal landscape they encounter.
The Conway families daughter Kay & son Alan explore J.W. Dunne's theory of simultaneous precognition regress aka "deeja vu" - that Priestley explored via Dunne's book "An Experiment w/Time" & literally step out of the play. Thrilling, indeed!
The dramatic irony & level of a universal human tragedy showing decline & collapse along w/metaphysical examination of loss & failure, dreams, & how we can maybe find a way out if we could be open to experiencing reality in a transcendent way was SPINE-TINGLING. Highly recommended & exciting to witness this highlight of the new Fall season.