"By the time things turn dizzily theatrical, in a noir-style romp called 'The Dark Clothes of Night,' the audience is well primed. This delicious little play is the third of three one-acts, and it’s the first that feels unmistakably like a work for the stage. Until then, the program is rather flat, particularly the first play, Idris Goodwin’s 'Black Flag'...In 'Queen,' 'the director, Victor Slezak, gets nice performances out of the actors, but there’s something inert about this genre piece."
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“‘Black Flag:’ under Vaughn's direction, the crosscurrents of tension are always evident…'Queen:’ Dialogue that cuts to the heart, and Slezak's direction results in acutely sensitive performances…‘Dark Clothes:’ The playwright has a keen ear for both literary satire and interpersonal takedowns...Dinelaris keeps the pace light and lively...Series B does exactly what this fine program is meant to do, acting as a calling card for a bevy of creative talents, all of whom are worth looking out for."
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“‘Black Flag:’ While the setup itself feels contrived, the play does a good job of exploring issues of racial insensitivity…The most tightly constructed, is ‘Queen’...This one ends ambiguously. But, really, the plot turn is less important than the well-honed portrait of disparate characters who come together through mutual loneliness and need…‘Dark Clothes:’ Filled with puns and sight gags that are often very funny, but it does drag on and eventually outstays its welcome.”
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“‘The Dark Clothes of Night’, a brilliant parody/homage to film noir and hardboiled fiction, is so good it alone is worth the price of admission. The other two plays have interesting but undeveloped premises. But ‘The Dark Clothes of Night’ is an instant classic, a satire that is also a brilliantly theatrical study in paranoia, fear and evil. Directed by playwright Alexander Dinelaris, the three actors in this memorable short work play multiple roles with assurance, style and aplomb.”
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"Now THIS is what I’m talkin’ about! 'Summer Shorts Series B' at 59E59 is a total shot in the arm and is not to be missed. The three plays here are a perfect example of how much you can pack into a few minutes on a stage. That would be A LOT…All in all this is a fabulous night of theatre. A soupçon of everything that is splendid about theatre, and a celebration of the wonder that is our New York Stage, and in particular 59E59."
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“‘Black Flag:’ Goodwin does a good job of unstitching several complicated rhetorical threads in a short amount of time...The play somehow lacks emotional thrust…‘Queen’: Covers territory so well trodden it’s nearly hackneyed...Lollar and Tuzzolo root the play with believably extreme emotions that lend it an air of gravity and tension…“Dark Clothes:’ A complex, comedic and oddly moving send-up of film noir...Alfredo’s script is too smart and too nutty to be predictable.”
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"In 'Black Flag' all three actors develop their characters with authenticity and, under Logan Vaughn’s direction, bring Mr. Goodwin’s script to a successful level of believability…'Queen' is a lightweight short play that never really makes it off the ground…In 'The Dark Clothes of Night' the film noire scenes are filled with period humor, double entendre, and enough sexism to last a lifetime. The whole endeavor seems endless and could be shortened by half."
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“Although ‘Black Flag’ opens fertile ground for discussion it’s impossible to swallow its premise...'Queen’ has the markings of a film noir...but director Victor Slezak and lighting designer Greg Macpherson fail to create...the seedy ambience required...Film noir itself happens to be the lifeblood of “The Dark Clothes of Night,”...a mildly amusing spoof of hardboiled detective films of the 40s; its principal flaw...is that once we get the joke that's pretty much all there is.”
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