"Ziegler’s four-character play succumbs early to the hypnotic, adrenaline-draining rhythms of a gentle, endless practice rally. Exciting though they may be to watch in the stadium or on the screen, sports seldom make for gripping theater...The performances rarely transcend the expected formula of such back stories...There is the stuff of an elegant (if less than original) essay in 'The Last Match' on how we invest in athletes as symbols and reflections of our own mortality.”
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"Despite Upchurch’s energetic direction, 'The Last Match' has a familiar feel. Ziegler serves insults and insights with impressive velocity, but the play doesn’t offer much new spin on its central questions about winning, disappointment and pressure. Mickiewicz and Payne...give ace performances; so do Bethel and Winters, whose arc is more melancholy. When the play’s balls stay in the air, it’s largely thanks to these four talented players."
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"If ever a play accurately summed up Aristotle’s definition of drama, it’s Anna Ziegler’s ‘The Last Match’...'Match' aspires to something bigger, more meaningful, than a tennis match. Ziegler writes great repartee, which is nothing to sniff at. But her play is formless and whatever point it hopes to score is lost in a squishy ending. It doesn’t work, either as metaphor or tragedy – not even as imitation.”
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"Ziegler manages to dramatize a very realistic and quite exciting tennis match between perfectly matched players. Under Upchurch’s streamlined direction, Bethel and Mickiewicz speak the body language of the court. Invisible balls are served, chased, returned and missed with grace and power by two toned athletes wielding invisible rackets...Like those invisible balls, the dialogue whizzes by at warp speed."
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“The flashbacks never achieve sufficient dramatic momentum...The play works best in its more lighthearted moments...Tennis fans will certainly appreciate the attention to detail in this production. On the other hand, if you're not terribly familiar with the sport, you may often find your mind wandering...Thanks to the performers' efforts, 'The Last Match' has its entertaining moments. But much like an athletic event that's gone on for too long, you'll be relieved when it's finally over.”
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“Gaye Taylor Upchurch's nimble direction keeps this 95-minute play moving at a clip, but Ziegler's story, with plot points that feel like easy lobs, never gets our hearts racing...The story's most interesting moments unfold as the two off-court couples attempt to make sense of their relationships...That's not to say that ‘The Last Match’ isn't worthwhile or satisfying theater — only that it sticks with gentle serves rather than trying for that ace.”
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"It never reaches the explosive climax that it seems to be heading toward...If the director, Gaye Taylor Upchurch, can't solve the play's ultimate sense of irresolution, she has at least found four actors who are a pleasure to be with...Everything about ‘The Last Match’ is as slick and professional as one could wish, but for the fact that Ziegler has found no satisfying way to end it...’The Last Match’ ends up scoring a deuce.”
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“What Ziegler builds is less of a contrast study and more of a mirror...By exploring the thoughts running across their minds with each game, Ziegler is able to manipulate time with the precision of a clockmaker...Ziegler's play is efficient at showcasing juxtapositions that reveal things unknown to the characters without allowing us to condescend them...'The Last Match' poses questions on the nature of our purpose, and whether we can alter our destiny.”
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