NYT Destroys Michael Moore’s Broadway Show

Michael Moore’s Broadway show must really suck when even the ultra liberal NYT pans it.  On Thursday, New York Times critic Jesse Green said watching Michael Moore’s show, “The Terms of My Surrender,” is like “being stuck at Thanksgiving dinner with a garrulous, self-regarding, time-sucking uncle.”  Green makes the point that politically he is in Moore’s corner but that the play is not like preaching to the choir, it’s more like bragging to the choir.

Green wrote:

 “Don’t get me wrong: Mr. Moore has led an exemplary life of progressive activism.” 

“Moore affects a cute, common-man delivery that fools no one.” 

Will this presidential election be the most important in American history?

“You don’t have to disagree with Mr. Moore’s politics to find that his shtick has become disagreeable with age.”

From The Daily Caller:

The play opened Thursday, and premium seats sell for up to $249, with mezzanine and orchestra seats going for $109 to $149. Balcony seats sell for only $39. The play runs at the Belasco Theatre through Oct. 22.

The brutal Times review concludes, “Audiences hoping for a bit of feel-good liberal therapy, let alone a good show, may be disappointed to find that Mr. Moore isn’t very interested in them. He’s not preaching to the choir: He’s bragging to it.”

Green, who got his seat for free, noted that the play was worth every penny he paid to see it, but not a penny more.

It turns out Green isn’t the only critic to pan Moore’s performance.  Vanity Fair added:

As The Guardian’s Jake Nevins points out, Moore’s show is one of the first artistic products to emerge from the Trump era, but its “overt references to the president seem designed for an easy laugh rather than striking an emotional chord.” In the show, directed by Tony winner Michael Mayer (Spring Awakening), Moore traces his history as a provocateur back to its origins, when he railed against a racist local Elks Club in Michigan at age 17. It’s a classic, Moore-ian, little-guy-takes-on-corrupt-institution tale—but, as The Washington Post’s Peter Marks writes, “Moore commits the fatal error of a premise in which now, he’s become the big guy.” Sounds like theatergoers looking for some political catharsis may want to just save their money for another performance of Hamilton.

“Gotta love him — but maybe let’s turn on the television,” Green added.

Keep in mind, this is the same Michael Moore who recently celebrated the Communist victory in Vietnam and demanded Democrats declare a national emergency until the FBI concluded it’s probe into the Trump-Russia conspiracy theory.


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