Were Critics Wooed by the World Premiere of The Paris Letter?

Jon Robin Baitz's The Paris Letter, which was long-rumored for a Broadway berth, will land off-Broadway at the Roundabout Theatre Company's Laura Pels Theatre in May under the direction of Doug Hughes. But, before it hits Gotham, the show had its world premiere at Los Angeles' new Kirk Douglas Theatre. Directed by Michael Morris, the production features Ron Rifkin who is expected to reprise his role in New York, Neil Patrick Harris, Lawrence Pressman, Josh Radnor and Patricia Wettig. Did critics say ooh-la-la to this Letter?

Here is a sampling of what they had to say:

Charles Isherwood of The New York Times: "The play's wide focus may have something to do with its frustratingly unrealized quality. The play's temporal and dramatic scope is not matched by depth of feeling or nuanced characterization. Mr. Baitz's writing is, as always, often fiercely eloquent, but even when they are passionately debating the ethics of love, moneymaking and the elusive matter of happiness, his characters retain a hollow, manufactured quality… There are far too many unsmooth transitions and unilluminated relationships in The Paris Letter, despite director Michael Morris's largely skillful work… Despite Mr. Rifkin's cool, compelling performance, Sandy is a cipher, a victim of Mr. Baitz's tendency to moralize."

Joel Hirschhorn of Variety: "Jon Robin Baitz's latest play is head and shoulders above most current dramatic offerings. Two-thirds masterpiece, The Paris Letter supplies such a stirring dramatic experience that its lapses in the final section don't seriously dilute the production's power. If these flaws, which include shapeless continuity and lurching dramatic leaps, are corrected, The Paris Letter has potential to rank beside works of Arthur Miller and Tennessee Williams."

Don Shirley of The Los Angeles Times: "More than any other Baitz play seen in Los Angeles, this one fully fleshes out the playwright's thoughts. Staged by Michael Morris at the Kirk Douglas Theatre in Culver City, The Paris Letter is Baitz at his best. It's about 10 times more engaging than Ten Unknowns… With The Paris Letter, Baitz overcomes his tendency to step on the brakes too soon. This is a big play, with three acts and nearly three hours, covering four decades with a fragmented chronology that might momentarily confuse. But this is one of those occasions when more is more--nothing seems repetitive or unduly discursive."