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Letters to CurtainUp --2014

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If you don't want your letter published mark the subject line: THIS E-MAIL IS FOR YOUR EYES ONLY. DO NOT PUBLISH ON YOUR LETTERS PAGE.
July 22, 20014. I understand that Living For Love wasn't open to national online and Print critics, like the NYTimes as well as you. So, how come the NYTimes DID review it? —Arnold Wiseberg
Editor's response: The Times was not given press seats but bought a ticket and like any paying customer this freed them from reviewing restrictions. I did go to a press performance and while the press people told me that the NYT reviewed freed me from my agreement to write a feature instead of a review, I chose to honor their request. One of the joys for the actors and others involved in these festival productions that it gives them a chance to work on the play without being in the critical limelight.

July 20, 20014.Re, Drop Dead Perfect, right you are--We laughed from beginning to end. Magnificent! Elizabeth Plunkett

June 19, 20014. There are many reasons Holler If Ya Hear Me died at the Palace Theater. But the overriding one was that it just wasn't a good show. —Ben and Ariel Coleby, Manhattan

June 29, 2014. agree and was glad to see a review that captured what I thought was a very textured, very human play. Others from "bigger" papers and sites seemed to miss the point completely so yours was refreshing. —Esther Tolkoff

June 28, 2014. I liked your reference to the Wison characters in Holler If Ya Hear me. If only the bookwriter had a tenth of Wilson's gift for character and language.—Ethel Richman, Bronx

June 13, 20014 About Jacob Horn's review of Fly By Night: Excellent review - you really "got" what the show is aiming for, and that several reviewers totally missed.— Barry Mitnick.

June 9, 20014. One of the most expensive and hard to get tickets in town is also the most uncomfortable theater experiences I've ever had. I considered myself lucky to nab a rush ticket but, OMG, the tedious process of getting seated and, worst of all, the backless benches made this more tortured than terrific. Sure it was inventive and stylish and Branagh is a fine Macbeth, but my increasing discomfort also made for decreasing enjoyment. A friend with deeper pockets than me who sat in one of the prime seats told me her having a cushioned bench did not save her from also having an aching back and the "fidgets" by the 2nd hour. I should add that I'm not a sernior citizen, and not even middle aged, but a twenty-five year old in good shape. This kind of seating might be fine for classical music orchestra musicians who are accustomed to sitting straight up and not leaning on the back of their chairs (although I do think they get a respite when the piece doesn't call on them to play).— Andrea Seidfield, Manhattan.

June 5, 20014. I agree with your review of Act I though I much prefer Act I to Act II. The evolution of the play within the play, depicted in Act II, was a mite boring. The evolution process has never been shown better than in Kevin Brownlow's brilliant documentary Unknown Chaplin, where he pieces together outtakes from Chaplin's City Lights to show the evolution of scenes from that movie — ND Kramer

June 2, 20014. We too enjoyed the Jim Dale solo though that long solo from the Noel Coward play seemed truly unnecessary and most people really don't know who he is. Without those Harry Potter audio books I doubt he would have gotten this show on stage.— Margaret and Elton Baker, Bronx

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