Daniel Kitson's solo piece may have had the least promising title in ages--The Interminable Suicide of Gregory Church--but this odd, funny import from the U.K. (already closed) got the only grade in the A range over a two-week span of good-to-middling grades beyond Broadway.
On the up side were Fiasco Theater's rollicking rendition of Shakespeare's Cymbeline (also just closed!), which accrued an admiring B+; the same grade goes to the Pearl Theatre's staging of Moliere's The Misanthrope, to Parallel Exit's workplace romp Room 17B, and to the Mint's new revival of an obscure 1909 media satire, What the Public Wants.
It was a relatively steep dropoff in median grades from there to a string of B-minuses, with the most high-profile example being David Auburn's refurbishing of an obscure 1906 farce, The New York Idea. Critics felt similarly unsure about Stephanie Zadravec's Bosnia-set drama, Honey Brown Eyes, about Diana Amsterdam's deathbed meditation Carnival Round the Central Figure, and about Ralph B. Pena's Filipino-American family portrait Flipzoids, all of them garnering a B-.
Perhaps most surprising is the C+ given to Taylor Mac's new reminiscence The Walk Across America to Save Mother Earth, given the ecstatic praise for last piece, The Lily's Revenge. We guess this only proves that the only certainty in show business is that there's no certainty in show business.