"'Reprise' is an incredible show...Packs quite a punch in the brief hour it takes to get through the entire ordeal. I say that with the utmost appreciation of how much of an emotional effect this show has on its audience. With three actors given the brunt of the work of keeping the audience thoroughly engaged in what's going on, they are spectacular in what they manage to do here...The indecision and misdirection, as real as it can get, make for a fascinating show."
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"Mediocre television situation comedy style devolves into cringeworthy dramatics in 'Reprise,' a messy one-act play...Amidst Maierson’s barrage of mechanical setups and punch lines, there are a few amusing jokes and insightful observations...Maierson does his play no favors by directing it as well...The cast is relentlessly emphatic in their vocal and physical delivery...'Reprise' might make for passable entertainment on television, but as a work for the theater it’s decidedly deficient."
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“Whether it is the writing, the direction or the acting, the first act was awkward, as if the two characters came from different plays...This discomfiture continued into the second act…‘Reprise’ doesn’t cover any new territory, but Ken Forman’s earnest performance and Tara Westwood’s complex tease make it involving. Sean Patrick Folster’s Leonard, although a vivid, sexy presence, upsets the story more than helps it along.”
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“It’s as broad as humor gets, and it makes for rather juvenile comedy. Michael endures it amicably, but he has no choice. The New York theatre public does…Westwood, a former model, brings as much emotional depth to the role as she would to a skin care ad. Not that she is given much to work with…Her character exists only in relation to Michael’s lust…Every possible thread of dramatic coherence unravels…It is hard not to feel anything but contempt for each of these characters.”
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“Eric Maierson’s new play comes across as the artistic product of a man who has recently learned about Nice Guy Syndrome and wants to educate everyone about it, but is still too entrenched in it himself to provide an accurate or appropriate representation of the moral he aims to impart…Maierson needs to spend more time digesting his progressive education before attempting to turn around and educate his audience; Michael’s apartment isn’t the only thing stuck in the 1980s.”
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"These three actors have created powerful characters. Leonard is fairly two-dimensional, but he is written that way because he is basically a boor...Mr. Maierson raises many issues of sexuality, identity, communication, longing, courting and seduction, and healing. As director, the playwright has these three actors tuned like a string trio that plays several movements in a variety of tempi and keys...This world premiere of this fine play is well worth your attention and reflection."
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