|“Last of the Love Letters” at The Atlantic - Why?|
|Posted by: student_rush 08:43 pm EDT 09/12/21|
|What a colossal misfire of an evening at the theatre. Minor spoilers ahead, but you should avoid seeing this play at all costs.
The second play by Ngozi that I’ve seen - the other being “Good Grief” at The Vineyard. Both terrible, and cementing the fact that I won’t see anything by this playwright again. Fool me once …
Don’t be fooled by seeing three actors’ names - this is an evening of monologues, with Daniel J. Watts carrying almost all the stage time alone. He is fine, but presumably lost a bet and is now forced to perform in this extended grad school audition while simultaneously rehearsing TINA during the day. Ngozi begins the “play” in a solo piece that is pitched to the balcony of the Gershwin. Forget about character or plot - neither exist here, for her or Watts. A silly exposition dump in the literal last moment of the play presumes to give context to the evening, but it fails and only reminds us we’ve been stuck in the dark for an interminable hour (that feels like three). Poor direction, cheap and ugly design. Jesus, is it too much to ask for something to look at to distract from the rambling speech?
How does this merit a slot in The Atlantic’s season? After eighteen dark months, who decides that THIS should be the piece to welcome us back? In a city drowning in potential, how does this rise to the top of a development pile?
If you see this on your papering site (as I did), I implore you to pass and reclaim your night to do anything else that may bring you a modicum or pleasure.
|Previous:||For Jonathan Raviv and Sherz Aletaha, their casting is 'Kismet' in Santa Barbara, Calif. - WaymanWong 03:35 am EDT 09/13/21|
|Next:||re: “Last of the Love Letters” at The Atlantic - Why? - NewtonUK 09:22 am EDT 09/13/21|
Time to render: 0.032030 seconds.