“Clumsily crafted, finely acted and, yes, high-strung drama…The crime-caper setup has some of the savor of early Mamet...But McCormick’s plotting, with its florid back stories and unsurprising revelations, is ploddingly predictable. And the dialogue is less than snappy…If such lines lack finesse, some of them are still fun to hear, and there’s pleasure in watching the actors attack the roles…But even capable actors can’t make this play plausible or mend the contrived and sentimental conclusion.”
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“This tortured crime caper strains credulity...McCormick aims for Scorsese, but ends up hitting Dr. Phil…We can understand the appeal for actors looking for a challenge, but not even performers as watchable as LuPone, Bradbury, and Isola can save this show…A lost opportunity, an overwrought melodrama…A dull two hours. The only surprises come when we see just how shameless McCormick is in each successive contrivance, the last of which will leave you with a hearty (if unintended) chuckle.”
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"An intriguing play...The show features the finest staging and superior acting…The story is a thought-provoking portrayal of the choices that people make and how these choices touch their lives. ‘The Violin’ has a cast of accomplished actors that completely master their roles. The characters are distinctive and perfectly portrayed…They capture the drama, humor and the suspense of this very original story…‘The Violin’ is a play that you will remember long after the curtain call."
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"It's never dull, yet never really convincing...Still, 'The Violin' goes down much more easily that you might imagine, thanks to Joseph Discher's taut direction and three tightly coiled performances...There's nothing really wrong with 'The Violin,' aside from a certain predictability and a sense that it has been drawn from other plays rather than real life. In any case, it has been given a first-class production."
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“Some very good acting, a couple of emotionally touching speeches, and an evocative set are not enough to cover up the numerous plot holes and overall sudsy narrative...The play unfolds amidst side stories that lead nowhere, quarrels....and a last-minute confession to justify a sacrifice worthy of a Bette Davis weepie…The performers...do their best with what they have been given to work with, but there simply is not enough for 'The Violin' to escape its discordant structure.”
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"The plot does have a credibility problem. It's hard to believe that the brothers can actually drag Gio...into their ransom scheme—or the way that scheme plays out…Despite these major and minor flaws 'The Violin’ is bolstered by the beautiful performances…The hints McCormick drops like bread crumbs...too obviously telescope the high-drama surprise finale. And while that ending sacrifices credibility for melodramatic sentimentality, it does surprise and comes with a big bang."
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“And as it proceeds to unfold, delivering one powerful punch and surprise after another, ‘The Violin’ does not disappoint. Imagine seeing ‘American Buffalo’--one of David Mamet's finest plays--for the first time. But given allusions to an amputated foot and other atrocities in ‘The Violin,’ you're more apt to think of gory plays by Conor McPherson than David Mamet, and that's equally appropriate--they're both, at their best, great storytellers.”
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“A provocative drama...All three actors are excellent and the scenes play out with rapid-fire dialogue. It’s talky, but the constant banter is a necessary means to a strategic end and gives the audience great insight into the personalities of the diverse, troubled men on stage. Joseph Discher’s direction is excellent, ensuring that the dialogue avoids being heavy-handed or preachy and is, instead, engrossing and wise."
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