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April 16, 2019

But this “Burn This,” which is steeped in the rich compassion for the lonely and lost that is the hallmark of works by Mr. Wilson (1937-2011), only rarely stirs the heart. In the ideal production, it creates the sense of fire meeting fire in a folie à deux between two ill-matched yet inexorably bound lovers. What we have in this case is a one-man conflagration.

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Entertainment Weekly
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Leah
Greenblatt

April 16, 2019

Driver moves through it all like his own weather system, maybe the most entertaining hurricane onstage this year so far. It’s too bad that the love story between Anna and Pale never completely convinces us that they are in fact, on fire; it sparks and smolders, but it’s not quite that kind of burn.

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April 16, 2019

So what’s needed? I’d say passion, or at least chemistry. But Russell’s Anna just hasn’t the emotional weight to provide the heft needed for an equal and opposite reaction to Driver’s Pale. She seems no more inescapably drawn to Pale than she was to Burton. Better she had stayed with that rich, handsome, doting stiff. They’d have had a nice little life.

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April 16, 2019

But even though Mayer has tightened the play from three hours in earlier productions down to a punchy two-and-a-half, it lacks the thematic resonance to deliver anything much beyond a magnetically performed love triangle. That’s partly because Robbie’s ghost is never vivid enough to truly haunt the characters; his loss quickly fades, diminishing the play’s melancholy undertow.

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April 16, 2019

The ache for an absent artist permeates Lanford Wilson’s “Burn This,” now receiving a finely-tuned Broadway revival that features incendiary performances by Adam Driver and Keri Russell, playing two lost souls in a powerful and passionate dance of denial.

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