Dobama Theatre
February 22-March 17, 2013
Bob Abelman
If misery loves company, then Stephen Karam’s “Sons of
the Prophet” should play to full
houses.
To see a full review of this show, read Bob Abelman's News-Herald article here.
Roy Berko
SONS OF THE PHOPHET is a brilliant script which gets an acceptable production at Dobama. It’s a shame because the quality of the material is superb, and the cast, with more focused guidance, was capable of living up to the positive hype a production of this script deserves.
To see a full review of this show, read Roy Berko's blog here.
Fran Heller
Tsoris is a Yiddish word for misery.
It's what the folk who inhabit Stephen Karam's comedy-drama, "Sons of the Prophet" possess in spades.
An offbeat, tender-hearted play about grief, loss and the resilience of the human spirit, "Prophet" is funny, wise, moving and insightful: everything meaty theatre should be.
To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News
Christine Howey
It’s often hilariously funny, and also touching as we watch 29-year-old Joseph, his younger brother Charles and his Uncle Bill grapple with various serious (along with some petty) problems. Trouble is, the play is something of a dog’s breakfast in terms of structure, with scenes loosely strung together and many story lines never explored or resolved even slightly.
To see a full review of this show, read Christine Howey's blog Rave and Pan
Andrea Simakis
Following an ill-conceived intermission that throws the brakes on the propulsive, forward motion of the production, the final three scenes resolve little, then sputter and stall out. Part of the problem lies with a script that thunders out of the gate and then flags, but any such structural glitches aren't helped by the sudden, vaudevillian tone brought by ensemble cast members Laura Starnik and Jeanne Task.Why Miller allowed the duo to go so broad is anybody's guess, given the playwright's explicit instructions to the contrary. The result doesn't feel funny so much as fraudulent, and it changes the black comedy to bleak sitcom. Ouch.
Following an ill-conceived intermission that throws the brakes on the propulsive, forward motion of the production, the final three scenes resolve little, then sputter and stall out. Part of the problem lies with a script that thunders out of the gate and then flags, but any such structural glitches aren't helped by the sudden, vaudevillian tone brought by ensemble cast members Laura Starnik and Jeanne Task.Why Miller allowed the duo to go so broad is anybody's guess, given the playwright's explicit instructions to the contrary. The result doesn't feel funny so much as fraudulent, and it changes the black comedy to bleak sitcom. Ouch.
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.
