"Goodwin’s likable but overstuffed new show...Goodwin packs in a lot of ideas and not enough connective tissue, leading to abrupt transitions and a rushed feeling...Peep One feels especially underwritten...Goodwin does not fully explore the complicated relationship between a hype man and an M.C., especially when they’re of different colors...The production zips along, at least. Mr Stango gives Pinnacle an appropriately weaselly mien, and Mr. Tolliver has a confident swagger that is effective."
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“Goodwin's script, though not an entirely airtight 75 minutes, goes a long way in describing the challenges white and black people face when having conversations about race...Seemel and Smith breeze over some of the gaps in the script; the characters' shifting allegiances and quickly resolved quarrels feel too pat to be believed. But several heart-pounding musical performances help us overlook the plot's shortcomings.”
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"’Hype Man’ benefits from an admirably tight structure, but its conclusion feels too glibly arrived at...If ‘Hype Man’ wraps up too easily, the issues that it poses are very real...Goodwin's characters are a galvanizing trio and they are guaranteed to give you plenty to think about. This is an imperfect piece, but it is also what The Flea does best -- giving voice to a gifted, provocative young writer and providing a showcase for some exciting young actors."
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“Goodwin’s exhilarating drama...Goodwin’s vision is theatrical, his dialogue is sharp, and he crafts a clenching scenario...Visually and vocally Stango is utterly convincing as this popstar...With his mellow presence and beaming smile, Tolliver beautifully plays Verb...Bass, Tolliver and Stango are majestic together...Written with passionate artistry, dynamically presented and containing searing performances, ‘Hype Man: a break beat play’ is an engrossing take on a familiar subject."
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"Goodwin's ethnically diverse trio is necessary for his treatment of the relationship of the group's music to issues of racism and social justice…Goodwin writes taut, colloquial dialogue that sounds natural in the mouths of these streetwise, articulate characters. His lyrics, while sometimes unintelligible when boomed at ear-banging levels, seem much like conventional rap, and probably won't disappoint hip-hop fans, while the music, by Wendell Hanes, likewise feels authentic."
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"Powerfully written and directed by Idris Goodwin, 'Hype Man' has to be one of the best Off-Broadway plays I have seen...Each actor was exceptional...The majesty of 'Hype Man' is that, in 90 minutes, through music and a simple, DJ booth set, you feel clearer on why black lives matter and more should say it."
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"Playwright Idris Goodwin has written a poetical protest set to music by Wendell Hanes about love, loyalties, joy & justice; none of which are promised...'Hype Man' a break beat play beams light on the memes of racism in the past, present and probable future. Get up offa that thing! 'Hype Man' is a must see at The Flea. White, black, we gotta have each other's back."
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"Goodwin is a provocateur pursuing many ideas that arise from the central conflict of his story, and his characters are well developed. He doesn’t, however, delve into the complicated relationship between the two childhood friends, who are now rivals, and unfortunately the delightfully raucous ending comes a little too easily. Nonetheless, Goodwin makes some excellent points while posing thought-provoking questions about timely topics. The skilled cast of three is outstanding."
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