Ode to the Man Who Kneels - Theater - Review - New York Times:
Mr. Maxwell, one of the few truly original experimental theater auteurs to emerge in New York during the past decade, has the invaluable gift of making you listen with his ears. Mixing professionals with amateur actors and melodramatic plots with low-energy presentations, he makes you hear the angst in the monotone of day-to-day lives.
He has steadfastly applied this leveling technique to tales of espionage (“House”), urban crime (“The End of Reality”), prizefighting (“Boxing 2000”) and romantic triangles, accumulating an expanding cult audience, here and abroad, along the way. His is a voice you would expect to grow tired of. But he keeps injecting fresh inflections into his signature drone.
I always feel a restlessness at the beginning of a new Maxwell production. “How pretentious,” I think. “Did I ever really fall for this stuff?” But to my continuing surprise, I leave each show emotionally stirred and grinning with admiration.
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