“Feury and Keyes seem to have set out to create a cast of characters whose connection is slowly revealed by the end...They also seem to have bitten off more that they could chew in this endeavor, with only the latter third of the play feeling fully developed. Their lackadaisical direction hasn't helped matters, with most of the performers appearing overwhelmed by the task of leading the audience down DUMBO's cobbled streets while delivering their head-scratching lines."
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"The overarching plot seems simple, yet...the story takes some time to reveal itself and unravel...Some connections are indicated rather subtly. Easily overlooked objects might be as telling as the dialogue, which often favors emotional projection over specifics. While torment tends to come through very clearly, the reasons...can be opaque, and elaborations can be burdened by cliches...The best moments...offer the audience the voyeuristic opportunity to...see into lives that aren't their own.”
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"The characters are thinly drawn and the narrative would be nothing special if not for the backdrop. Also, the timelines don't fit together...Some actors are more convincing than others...If you think of 'Stars in the Night' more as a tour of Dumbo than a brilliant piece of theater, you won't be disappointed. It could make for a good date night or group activity with people who like immersive experiences and have disposable income."
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"Although billed as 'an intimate immersive production,' what 'Stars in the Night' actually offers, at its best, is the exact opposite — a spectacular public setting...Unfortunately, most of the show’s characters, portrayed by eight members of the Los Angeles-based company Firelight Collective, are not much more developed during the show than those passersby. The story they act out is vague, arty, clichéd, and confusing."
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"The show seems to blur the lines between traditional theater acting that projects out to the audience and the more subtle demands of cinematic performance where the camera can pick up even the subtlest flickers of emotion as they glance across the face...The earlier scenes are diverting enough, to be sure, as you puzzle out how these characters might connect to each other — but on their own, none come close to delivering the impact of those final scenes."
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"It felt as if we were being given pieces of a puzzle that would be resolved by the end of the night...The second half of 'Stars in the Night,' all on its own, is an engrossing piece of site-responsive theatre...What we don’t get is any narrative resolution to the tales of the characters we first met. With the second act being so strong, it somewhat begs the question of what the initial processional is doing there in the first place...It really can’t be overstated how good that second act is."
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"Not only an achingly sublime meditation on how we let our regrets define us, but also a bold statement of the kind of stunning work the Firelight Collective is capable of...There is nowhere for an actor to hide as even a whiff of artificiality...Happily, the entire cast rises to this challenge and thrives in their respective roles...A melancholy work of art that inspires you to reflect on your own life and possibly inform the way you live it. I can think of no higher praise."
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