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Displaying 1 - 11 of 11 reviews
May 21, 2014
I saw the off-Broadway production of this show, which was a real highlight of 2012. It tells the story of a half-dozen twenty-something assistants to a monster millionaire mogul, and the depths to which they'll sink to be close to "greatness".
The script was a good read. Very funny. And it really captured the frenetic, snide, dysfunctional office environment.
The script was a good read. Very funny. And it really captured the frenetic, snide, dysfunctional office environment.
April 12, 2017
I really enjoy Leslye Headland's work. She is such a thrilling modern playwright with a knack for quick wit and making dislikable characters enjoyable. I really loved Nick and Nora's banter and complicated relationship, as well as the other supporting characters' amusing desperation.
March 29, 2020
The search for another title to balance out the Out of Pocket, Inc. 2020-2021 season continues. We have a thriller/drama and romantic dramedy already in place, so I am now hunting for something just straight-up funny.
I plucked this play at random off of the Dramatists website just based on the description, and unfortunately, it proved to be a bit of a disappointment, both as a possiblity for the season and as a play in general. The play concerns a group of twenty-somethings who slavishly work for a powerful mogul who never appears in the play himself and is deeply abusive to them, an abuse they willingly endure to be within his orbit of power and influence.
That is not to say that Headland doesn't have the chops--I imagine that the play has a certain caffinated energy when it is up on its feet--but the whole thing never really lifted off for me the way a play does when I really connect with it, that almost dizzy feeling that I must be in it or I must direct it. Part of the problem is that it may be a page vs. stage situation--the script is a little difficult to read because there is a good deal of stage business that interrupts the dialogue, which certainly wouldn't be a problem seeing the play live. I think the main problem, though, is that the play isn't funny and dark enough--it strives to be satiriical and edgy but ultimately lacks the acidic bite of, say, Mamet's Glengarry Glen Ross., to which one reviewer compared it. The ending is also very strange, usually not a problem for me, but doesn't feel earned.
I plucked this play at random off of the Dramatists website just based on the description, and unfortunately, it proved to be a bit of a disappointment, both as a possiblity for the season and as a play in general. The play concerns a group of twenty-somethings who slavishly work for a powerful mogul who never appears in the play himself and is deeply abusive to them, an abuse they willingly endure to be within his orbit of power and influence.
That is not to say that Headland doesn't have the chops--I imagine that the play has a certain caffinated energy when it is up on its feet--but the whole thing never really lifted off for me the way a play does when I really connect with it, that almost dizzy feeling that I must be in it or I must direct it. Part of the problem is that it may be a page vs. stage situation--the script is a little difficult to read because there is a good deal of stage business that interrupts the dialogue, which certainly wouldn't be a problem seeing the play live. I think the main problem, though, is that the play isn't funny and dark enough--it strives to be satiriical and edgy but ultimately lacks the acidic bite of, say, Mamet's Glengarry Glen Ross., to which one reviewer compared it. The ending is also very strange, usually not a problem for me, but doesn't feel earned.
February 21, 2019
What Headland accomplishes in this play and Bachelorette (which I'm still sitting with a week later) is the way she renders unlikable characters. And it may be people we know (or have seen portrayed in movies) but like, we still want to see them succeed. She succeeds especially with the relationship between Nora and Nick (no relation to the playlist movie) as assistants. There's a sweet moment we witness that makes this whole play about being an assistant worth it. It's a thankless job and these people couldn't imagine doing anything else than to assist someone. It's a great snapshot (and terrifying) of folks who just need to take care of themselves first before thinking about being someone else's bitch. Great read.
July 2, 2019
Leslye Headland’s (formerly an assistant to Harvey Weinstein), play about being an assistant to a demanding multi-millionaire was one heck of a ride. Worth reading for the fast-paced banter and insight into an unusual/brutal job.
September 20, 2017
This play is based on Leslye Headland's time as an assistant to Harvey Weinstein; so as a former employee of The Weinstein Company, I may be a bit biased in my rating.
July 23, 2020
Fun play!
January 22, 2021
Very funny, with great dark undertones. Leaves a really bitter taste in your mouth. A little dated, but still good for sure
September 14, 2023
what a cool concept holy shit .. def a new favorite
Read
December 19, 2024Dream job wish I was kidding
October 19, 2016
2.5 stars from me.
I like the modern references (like youtube viral videos).
Reminds me a lot of The Office tv series. Nick and Nora are Jim and Pam, Heather is Phyllis, Justin is Dwight, Jenny is Angela. The main difference is they work for a beastly Daniel instead of a well-intentioned Michael. But Daniel is never seen or even heard - there are sounds of him yelling over the phone but that's it.
The banter is quick and often cute, but it isn't gripping stuff to read - it's buried between getting people on the phone to transfer to Daniel, calling third parties to arrange stuff for Daniel. It's a lot of office stuff in overlapping conversations. At the end of each Act, some characters (Heather and Justin) have long monologues that just drag on. Overall could use more oomph.
I like the modern references (like youtube viral videos).
Reminds me a lot of The Office tv series. Nick and Nora are Jim and Pam, Heather is Phyllis, Justin is Dwight, Jenny is Angela. The main difference is they work for a beastly Daniel instead of a well-intentioned Michael. But Daniel is never seen or even heard - there are sounds of him yelling over the phone but that's it.
The banter is quick and often cute, but it isn't gripping stuff to read - it's buried between getting people on the phone to transfer to Daniel, calling third parties to arrange stuff for Daniel. It's a lot of office stuff in overlapping conversations. At the end of each Act, some characters (Heather and Justin) have long monologues that just drag on. Overall could use more oomph.
Displaying 1 - 11 of 11 reviews