Every critic has their own way of evaluating a play. Some may prioritize aspects that other critics do not. However, there are basic universal problems that all critics should address. Authors Oscar G. Brockett and Robert J. Ball state that what all critics need to basically focus on is the understanding, effectiveness, and ultimate worth of what they are critiquing (Brockett and Ball, pp. 32, par. 3). Yet according to journalist Maria Bustillos, critics could have their own opinion and follow their rules but “what we really need is a critic who has got something interesting to say” (Bustillos, par. 28). This highlights the fact that although critics have different opinions, many of them do not have unique or interesting-to-read critiques.
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Both Oxman and Sommer mention Geoffrey Nauffts, the play’s director. For Oxman, “Nauffts’ direction keeps a crisp pace” and “gives equal weight to his two lead performers” (Oxman, par. 8). Instead of going in a broader direction, Sommer zeroes in on the prologue and mentions how Nauffts effectively set it up (Sommer par. 6) so that it transitions into the main elements of the play. Also, Sommer goes more in-depth about the success of the play. First, Sommer mentions that the play itself is “a lot to deal with” in plot elements and the characters (Sommer par. 4). She then mentions how “Belber brings all [those] concerns to the table,” signifying that Belber was successful in incorporating all the important elements into the play (Sommer, par. 4). Sommer also noticed a detail that Oxman did not; she specifically mentions that the television set in Vince and Jon’s motel room is playing Seinfeld. Sommer hints that Belber intentionally included this aspect because it links Jon, Amy, and Vince to the Seinfeldians, who “[blow] life’s minor events all out of proportion” (Sommer, par. 6). This fact is brought up back in the epilogue, which Sommer notes that the set and plot is structured in a way that separates the Tape characters from the “Seinfeld ghetto of perpetual post-adolescence” (Sommer, par. 6). The way that Sommer pays attention to detail and discusses the play’s intention/playwright’s interpretation far outdoes Oxman’s
Both Oxman and Sommer mention Geoffrey Nauffts, the play’s director. For Oxman, “Nauffts’ direction keeps a crisp pace” and “gives equal weight to his two lead performers” (Oxman, par. 8). Instead of going in a broader direction, Sommer zeroes in on the prologue and mentions how Nauffts effectively set it up (Sommer par. 6) so that it transitions into the main elements of the play. Also, Sommer goes more in-depth about the success of the play. First, Sommer mentions that the play itself is “a lot to deal with” in plot elements and the characters (Sommer par. 4). She then mentions how “Belber brings all [those] concerns to the table,” signifying that Belber was successful in incorporating all the important elements into the play (Sommer, par. 4). Sommer also noticed a detail that Oxman did not; she specifically mentions that the television set in Vince and Jon’s motel room is playing Seinfeld. Sommer hints that Belber intentionally included this aspect because it links Jon, Amy, and Vince to the Seinfeldians, who “[blow] life’s minor events all out of proportion” (Sommer, par. 6). This fact is brought up back in the epilogue, which Sommer notes that the set and plot is structured in a way that separates the Tape characters from the “Seinfeld ghetto of perpetual post-adolescence” (Sommer, par. 6). The way that Sommer pays attention to detail and discusses the play’s intention/playwright’s interpretation far outdoes Oxman’s