PRAISE FOR THE COMPLETE & CONDENSED STAGE DIRECTIONS OF EUGENE O'NEILL, VOLUME 2

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  FROM THE NEW YORKER'S "TALK OF THE TOWN", SEPTEMBER 2013

FROM THE NEW YORKER'S "TALK OF THE TOWN", SEPTEMBER 2013

 

PRAISE FOR THE COMPLETE & CONDENSED STAGE DIRECTIONS OF EUGENE O'NEILL VOLUME 1: EARLY PLAYS / LOST PLAYS

 

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"an impish illustration of how lively entertainment can be created from theatrical spare parts."

-NY Times (Critics' Pick)

"a comic CAT-scan of O’Neill’s early work . . . nothing funnier than watching good actors attempt to play the unplayable . . . The Neo-Futurist‘s  brilliant minimalists, all,  actually get the plays across, in all their fatal glory, even as they are racking up guffaws." 

New York Magazine (Critics' Pick)

"...a fun, breezy evening that is both an homage to and a satire of one of our greatest playwrights."

-Theatermania

"a stoner convention for scholars."

-Time Out NY (Four Stars)

"Smart and daffy."

-Broadwayworld

"This show is an absolute scream. Ingeniously adapted and flawlessly performed, this is downtown theater at its best."

-nytheatre.com

"a highest-brow kind of Whose Line is it Anyway."

-L Magazine

FOR THE THEORETICAL PHYSICS OF PROCRASTINATION:

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"The final play, The Theoretical Physics of Procrastination by Christopher Loar, is probably the most mind-boggling of them all.  Loar tells us that currently he is lying on a couch a few months ago not writing this play when he should be.  The fact that we see him here is a product of his mind being lost in a seemingly endless paradox of time and space.  Loar’s writing is confidently outlandish as the absurdity feeds the circular plot.  The timing of the chaotic entrances and exits from other points in time is impressive to say the least and I loved the odd soundtrack and murky video that underscored the nonsensical humor and action. The one makes for an excellent button on the evening."  (NY Theatre)

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“The Theoretical Physics of Procrastination,” written and performed by Loar, is the closing offering and the most impressive. Loar enacts writing his play in the present, while in videos purporting to show the past he looks to the event as yet to be. It’s all realized with sublime absurdity, eventually becoming a brilliant blend of video, recorded sound, and live performance. " (Backstage)