New Yorker review of Love, Love, Love: Richard “Armitage is stellar”

This is a kind of a weird review. But this suggests we won’t get a treasured long-form review. Too bad.

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~ by Servetus on October 23, 2016.

15 Responses to “New Yorker review of Love, Love, Love: Richard “Armitage is stellar””

  1. Odd to me how he could be both stellar and not be successful at conjuring animal attraction. Reviewer seems to be faulting Amy Ryan.

  2. She just likes Richard the most. I don’t blame her😀

  3. Sandra is a very shallow, clueless character, and so I had the impression we weren’t supposed to connect with her emotionally.

    I’ve said before that I liked Zoe Kazan in Act III, but not Act II. Reviewers seem to be either hot or cold for her.

    • I’m getting really curious now about how this is played. I don’t think we’re supposed to like any of the characters (or we sympathize with or don’t sympathize with them in equal measure — at least that is how the script hits me. Zoe is supposed to be in my generation and I’m exasperated with her even as I recognize her frustrations with her parents).

      • Kenneth and Henry were sympathetic. Interestingly, the women (Sandra and Zoe) had the most important roles in terms of advancing the plot and pressing the point of the play, but the men were the more balanced, more believable characters. When do you see it?

        • Stay tuned for posts about it when I have!🙂

          • looking forward to it🙂 I’m with you for the moment, i disliked all of them in the pay and i do wonder what it is in the stage version that makes people like any of them or fall for them. While reading i felt that if i was witnessing those conversations right before me, i would certainly not be laughing.

            • To me, what gave it the potential for humor was the sheer absurdity (especially of Act Two, but also of Act One). Act Three seemed to me to be closer to conversations I’ve actually heard, but Act Two in particular — I just had a hard time imagining any family actually talking to each other that way.

              • I have seen families talk that way – I don’t mean the dramatic revelation and giving kids drinks, etc., and all that, but, just how they interact about every day life, or what went on that day what’s happening next, etc. I think we were seeing a pattern of how that family behaved most of the time. The text tells us there was always a lot of shouting.

                • It’s not about shouting. I don’t want to leave a spoiler, but there is one key plot point in Act Two, created via conversation, that I simply cannot imagine an actual family, particularly not a British family, actually doing or saying. I’ll leave it at that. But it’s central to how that act “works” (and I think whether an observer finds it credible has a lot to do with whether an observer thinks the play is subtle or facile.).

      • Henry is OK. I agree – I don’t think we are suppose to actually like the characters, but I felt the most for Jamey.

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