JONAH AND OTTO REVIEWS
Jonah and Otto A Master Class In Acting
Last night Robert Holman’s riveting drama swam across the pond and opened at The Lion on Theatre Row. This show is a master class in acting, handled by two exquisite actors Sean Gormley and Rupert Simonian.
This is a DO NOT MISS!, especially if you love acting. This is one of the best shows I’ve seen all season and definitely some of the best acting.
A Curtain Up Review: Jonah and Otto
Snappy writing gives this sentimental story a real lift. So does the excellent acting of London-born Rupert Simonian and Irish Rep. member Sean Gormley, under the fine direction of Geraldine Hughes.
Holman's characters may seem adrift in their mutual loneliness. But the reward of the play is that we watch them increasingly reflected through each other's sorrows and joys.
Gormley beautifully addresses Otto's mixture of melancholy and geniality... Simonian is terrific as the mercurial, motor-mouthed and poignantly unsettled Jonah.
Jonah and Otto: This Week In New York
British playwright Robert Holman finally makes his New York City debut with Jonah and Otto, an involving, splendidly acted drama with palindromic elements.
The two have an instant chemistry that has you rooting for them. Holman’s dialogue is constantly surprising and wonderfully layered, with funny insults and clever insight.
“Why did you have to find me?” Otto asks Jonah. You’ll be glad he did.
Jonah and Otto: ★★★★★
I am finding it difficult to find words that do justice to Jonah and Otto. It is a fascinating piece of writing wherein a simple premise gives rise to refreshing catharsis.
British playwright Robert Holman has written an extraordinary play... Director Geraldine Hughes has masterfully fine-tuned the work of this pair of enormously talented actors to a razor-sharp attention to detail from the music of the text to the arc of the narrative.
I’m seriously going to buy a ticket and see this play again, so when you all dash to the Lion Theatre box office, save a spot for me!
The Unlikely Kindred Spirits of Jonah and Otto
Holman’s play is a meditation on the unseen violence that’s done to souls simply by existing, but it’s also about the palpable violence done by wrong choices, bad breaks, paths taken and paths not.
The writing of this play leaves absolutely nothing to chance. Every sentence is carefully considered and carefully freighted with meaning. It’s a tribute to the actor’s skill and the director’s nimble interventions that it feels organic, coming from a deeply felt place, with real life consequences for its two hard-bitten protagonists.
Simonian magically inhabits his character, allowing the pain underneath the brash exterior to emerge convincingly. And Gormley shows us how his stricken character intuitively flees from the very things that will save him.
The production sets all of this out lucidly, in a drama that knows what to conceal and what to reveal, challenging you – and its two lonely protagonists – only to risk yourself, only to connect.
Jonah and Otto Show It Is Not Easy to Be Lonely
Director Geraldine Hughes did an excellent job of assuring that the audience always feel the darkness or dimming light of both these men and their surroundings.
It is rough to live in a world where you cannot hide what is deemed "wrong" with you, while trying to figure out what is right. Hence, I cannot reiterate enough the character/acting bond between Rupert Simonian and Sean Gormley. They oddly complete each other, and flesh out the virtues Holman wished to cover through his playwriting.
First Nighter: Robert Holman's Jonah and Otto
The pressing reason to see Jonah and Otto is to watch what Simonian and Gormley do with their meaty roles, as directed by Geraldine Hughes.
Sean Gormley switches with speed from scared clergyman to overbearing aggressor. Rupert Simonian slowly instills irresistible humanity into the openly emotional Jonah.