As I have done with other Daniel Kitson shows, here is a rundown of the reviews out for his show Analog.ue. He promised a different recorded story for New York and London so bear that in mind as you look at the reviews. From what I can tell the core story in New York seems to be used in London (so watch out for spoilers in NY reviews) but the framework for the piece is very different.
NEW YORK
Jason Zinoman in the New York Times describes Kitson's recorded performance "an unexpected feat."
Henry Stewart in L Magazine calls Analog.ue a"beautiful and conceptually brilliant show."
John Del Signore in Gothamist calls it a "palpably physical performance."
Jacob Gallagher-Ross of the Village Voice says the show embodies "memory's selective recall."
Zachary Stewart in Theatermania says, "It's easy to engage with Analog.ue on an intellectual level, far harder to do so on an emotional or physical one."
Michael Glitz in the Huffington Post calls it "more art piece than live theater."
Elisabeth Vincentelli in the New York Post calls it "not entirely compelling."
My slightly disappointed review is here where I say "the heartfelt storytelling takes a backseat to the recorded format which dominates the performance, distances the audience from the source."
LONDON
Stewart Pringle provides an interesting analysis of Analog.ue in the context of Kitson's other recent work. He calls it Kitson's "most personal show since 66a Church Road, filled with slides of Kitson’s home and his childhood and his friends, his own life constantly getting in the way of the story he is apparently trying to unwind."
Alice Jones of The Independent says "this is surely [Kitson's] callback to Krapp’s Last Tape" and "Kitson is right at home spinning his odd little tales of loneliness and love."
Steve Bennett of Chortle says "the story is told in a unique and intriguing way" but "the staging is what defines Analog.ue, it is also its partial undoing."
Bruce Dessau in the Evening Standard says Analogu.ue "confirms Kitson is the real deal. Or make that the reel deal."
Andrzej Lukowski in Time Out says "It is a work about performance: questioning what it is, why people do it, what an audience want. It is also a work about loneliness, with the silent Kitson’s evasion of audience rapport serving to heighten the melancholy."
Sarah Hemming of the Financial Times says "the crux of this curious, touching piece is the question of what remains of a lived life when it has ended and of the relationship between experience and story. The recorded voice is key to that exploration. It’s a funny, melancholic, oddball show."
Dominic Cavendish in the Telegraph says "there are clear echoes of Beckett’s Krapp’s Last Tape. But in his wit and lyrical wisdom Kitson is his own man and this a work of wonder."
Sharon Lougher in the Metro writes "For a show about stories, it’s missed the real, human art of storytelling."
Paul Fleckney in the Guardian says "For me it's his least enjoyable show to date, an indulgence too far, where the story suffers at the hands of the concept. But the impulse behind it – to abandon the comfort zone and just try something – will surely bear fruit."
NEW YORK
Jason Zinoman in the New York Times describes Kitson's recorded performance "an unexpected feat."
Henry Stewart in L Magazine calls Analog.ue a"beautiful and conceptually brilliant show."
John Del Signore in Gothamist calls it a "palpably physical performance."
Jacob Gallagher-Ross of the Village Voice says the show embodies "memory's selective recall."
Zachary Stewart in Theatermania says, "It's easy to engage with Analog.ue on an intellectual level, far harder to do so on an emotional or physical one."
Michael Glitz in the Huffington Post calls it "more art piece than live theater."
Elisabeth Vincentelli in the New York Post calls it "not entirely compelling."
My slightly disappointed review is here where I say "the heartfelt storytelling takes a backseat to the recorded format which dominates the performance, distances the audience from the source."
LONDON
Stewart Pringle provides an interesting analysis of Analog.ue in the context of Kitson's other recent work. He calls it Kitson's "most personal show since 66a Church Road, filled with slides of Kitson’s home and his childhood and his friends, his own life constantly getting in the way of the story he is apparently trying to unwind."
Alice Jones of The Independent says "this is surely [Kitson's] callback to Krapp’s Last Tape" and "Kitson is right at home spinning his odd little tales of loneliness and love."
Steve Bennett of Chortle says "the story is told in a unique and intriguing way" but "the staging is what defines Analog.ue, it is also its partial undoing."
Bruce Dessau in the Evening Standard says Analogu.ue "confirms Kitson is the real deal. Or make that the reel deal."
Andrzej Lukowski in Time Out says "It is a work about performance: questioning what it is, why people do it, what an audience want. It is also a work about loneliness, with the silent Kitson’s evasion of audience rapport serving to heighten the melancholy."
Sarah Hemming of the Financial Times says "the crux of this curious, touching piece is the question of what remains of a lived life when it has ended and of the relationship between experience and story. The recorded voice is key to that exploration. It’s a funny, melancholic, oddball show."
Dominic Cavendish in the Telegraph says "there are clear echoes of Beckett’s Krapp’s Last Tape. But in his wit and lyrical wisdom Kitson is his own man and this a work of wonder."
Sharon Lougher in the Metro writes "For a show about stories, it’s missed the real, human art of storytelling."
Paul Fleckney in the Guardian says "For me it's his least enjoyable show to date, an indulgence too far, where the story suffers at the hands of the concept. But the impulse behind it – to abandon the comfort zone and just try something – will surely bear fruit."
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