The Walnut Street production’s antic energy is both its strength and its weakness.
Keith Huff’s episodic play has powerful moments, but too much narration.
Walnut Street’s handsome production doesn’t quite cut to the core of Stephen Karam’s fine play.
Walnut Street Theatre’s talented ensemble is its own reward, but they can’t disguise the thinness of Ken Ludwig’s script.
In an often-dazzling parade of comic shtick, the sentimental side of Neil Simon tends to disappear.
Laughs are plentiful in the Walnut Street production. But is it really funny?
In Rick Elice’s clever, energetic play, some of the heart and soul get lost.
John Logan’s play is executed skillfully at the Walnut Studio, but the intimate space robs it of its grandeur.
In the leading role, Ben Dibble is luminously sweet — but the frantic Walnut Street production sometimes robs Harvey of its gentle charm.
Eugene O’Neill’s last completed play finds true greatness in its second half — and Kate Galvin’s production rises to meet it.