Reading the Times review, I feel Greene blew off the core of this play when he said "Sure, let's go with that" and focused more on the "freak out fun". I was kind of hoping Vicentelli would review this play.
uncageg said: " Really upset I missed the talk back but hope there will be another one."
I love talkbacks and always stay for them. But I was so tired and angry after seeing this, that I left as soon as possible.
First, the only reason I went was to see Laurie - she was star-billed, when in fact she had a smallish part that gave her little to do.
Second, I waited for the entire play for all the confusion to make sense - something I'm happy to do. But when a playwright explains little to nothing, I feel tricked. This was not some avant-garde theatre piece that exists to raise questions. It was just a play filled with horror tropes that did not deliver - either in scares or in story.
marknyc2 said: "uncageg said: " Really upset I missed the talk back but hope there will be another one."
I love talkbacks and always stay for them. But I was so tired and angry after seeing this, that I left as soon as possible.
First, the only reason I went was to see Laurie - she was star-billed, when in fact she had a smallish part that gave her little to do.
Second, I waited for the entire play for all the confusion to make sense - something I'm happy to do. But when a playwright explains little to nothing, I feel tricked. This was not some avant-garde theatre piece that exists to raise questions. It was just a play filled with horror tropes that did not deliver - either in scares or in story.
I was glad I paid TDF prices.
"
Well, that all sounds like a reason to have stayed for the talk back, tired or not. Maybe some of your confusion would have been cleared up.
Review: Broadway’s ‘Grey House’ Raids the Grave for Horror Clichés
There's a point here — men do terrible things and the universe will have revenge — but it's buried in a pretentious trauma-drama using horror tropes to diminishing effect.
Anyone know if I'll get my Audience Reward points back??? I have no doubt I'll get my money back.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
I thought it was supposed to be closing Labor Day weekend? It was never open ended."
This was discussed in the other thread. Open ended, limited run, doesn’t really matter - fact of the matter is that it’s closing almost two months prior to the last date tickets were available for.
Anyone know if I'll get my Audience Reward points back??? I have no doubt I'll get my money back."
Just as an update: I"ve already rec'd notice that my refund is on it's way, AND my Audience rewards points have been reinstated. (THAT was quick.)
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
I was so excited for this show as I am quite a fan of horror/suspense/creepy/whatever that this play billed itself as. As soon as the girls started singing near the beginning I thought...........oh no. I spent the rest of the show either waiting for something to happen or waiting for it to end. There were about ten times where I thought, aaaand curtain! but then it kept going much to my dismay. On the way out of the theater, I heard a couple say "I think a lot of people didn't get it, but we are analytical, so we understood what was really happening." I think I got what was happening too, it just wasn't compelling or interesting. The set though, created quite a mood. I could easily imagine the rest of the house, the outside, the smell, all of it from the meticulous details in the set.
"The cast is excellent. Metcalf scores another fine collaboration with Mantello (Three Tall Women, Hillary and Clinton), and Maslany (Orphan Black) demonstrates a stage comfort and depth that she hadn’t quite managed in Ivo van Hove’s Network. Sparks is suitably inscrutable as the wounded and wounding Everyman, and the children are terrific: Sophia Anne Caruso, as the protective Marlow, cements her well-earned reputation as the stage’s go-to girl for all things off-kilter (David Bowie’s Lazarus, Beetlejuice). Deaf actor Millicent Simmonds (A Quiet Place) gives her Bernie an ethereal quality that can seem both gentle and threatening, and Alyssa Emily Marvin as the oddly named A1656 conveys the only real compassion to be found. Colby Kipnes is suitably feral (and her movements superbly musical when called for) as Squirrel, Eamon Patrick O’Connell nicely weird as the cute little boy who never quite reveals his secrets and, as the Ancient, Cyndi Coyne seems as ghoulish as any banshee in Inisherin.""
I also really like the cast, especially Millicent Simmonds. Her performance is really impressive