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TRUST OFF-BROADWAY REVIEWS
Opening Night: August 12, 2010
Synopsis: Harry is rich. Harry is married. But when Harry doesn't trust any of it is enough, he looks to find something real in the most unlikely of places. Paul Weitz's dark comedy Trust explores the corrosive effect of power on relationships and the hope we need to make them better.
NEW YORK TIMES REVIEW:
"Is it all right if I go ahead and award Zach Braff the prize for the best New Yorker cartoon of the year? I don’t mean that Mr. Braff, who was the star of the sitcom “Scrubs,” has taken up drawing for magazines (though, for all I know, he may have). It’s just that playing a reluctant millionaire named Harry in “Trust,” a slender new comedy by Paul Weitz, Mr. Braff is the unmistakable, flesh-and-blood avatar of hundreds of pen-and-ink drawings that have appeared in The New Yorker since its inception. "
"There are some things you'd never expect to come out of Sutton Foster's mouth. "Lick my boot" is one. "I'm a brain surgeon" is another.
It's all the more jarring because, since her triumph eight years ago in "Thoroughly Modern Millie," she's been typecast as a sunny Pollyanna. If "Trust" achieves only one thing, it shows Foster can do more than belt out tunes.
"If you can tell me a clunkier setting than an S&M dungeon to explore the subject of power, you can handcuff me to a lamp post and call me nasty names. For that's exactly where Paul Weitz ("About a Boy," "Show People") sets "Trust," a boy-meets-dominatrix puff piece, a hot ticket now deflating at Second Stage."
"Second Stage Theatre seems to be out to corner the market on emptiness. Hot on the heels of its uptown production of the vacant but flashy "Bachelorette," we get Paul Weitz's schematic, wafer-thin "Trust." You'd think a play featuring Sutton Foster as a professional dominatrix would at least keep your mind off the grocery list. Unfortunately, you'd be wrong."
"Four people find themselves on irreversible journeys of self-discovery in Paul Weitz's dark comedy Trust, now playing at Second Stage Theatre. And while their crosscutting paths to their newfound awareness make for initially interesting theatergoing in this stylish production, helmed by Peter DuBois, the play ultimately falters as Weitz's plotting becomes increasingly convoluted. "
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