She credits playwright Vogel, who’s “script creates its own piercing language for assault,” and notes how despite the heaviness of the subject, the play “finds moments of levity without minimizing the tragic parts of the story.” Phillips heralds Parker and Morse, who deliver “crushing performances – both sentimental and horrific, utterly complex.” She describes Parker’s “agelessness” and her ability to depict “decades of Li’l Bit’s trauma with astute choreography,” going on to say Morse “gives a similarly empathetic performance.” She also acknowledges Johanna Day, who “delivers a vicious yet contained performance.” Maya Phillips ( New York Times) calls the production “unforgettable” and labels it a Critic’s Pick. This long-awaited mounting of “How I Learned to Drive” earned rapturous reviews from critics.
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