All New People

Time Out“Clumsy, heartless and loud: so very, very loud...” Dubois's direction fails to modulate or moderate the tone in any way, and although there are a couple of laughs to be had, there is next to no charm. It feels like a shrill, hysterically over-egged sitcom pilot...

The Independent“A shorter run of this show would reduce human suffering...” The play has some good screwball exchanges and Myles, Hilton and Fielding give assured comic performances. But what a waste of their talents...

Financial Times“Wild misjudgment...” As if on the assumption that critics and punters alike will jump through hoops to accommodate Braff. Some may do so. But as for going to see this production on its own merits...oh, you're kidding!...

The Observer“A study of personal discontent...” Characters are running around and falling over, spilling drinks, throwing crisps. When the farce eventually simmers down, a tight, touching comedy emerges...

The Telegraph“Combines the comic and the poignant with undoubted panache...” In fact, the jokes keep coming, and the moments of deeper emotion feel earned rather than schmaltzy. One becomes genuinely interested in all four of these misfit characters, knocking back the booze and hoovering up the cocaine...

Evening Standard“Unpleasantly glib American comedy...” The Scrubs star is now centre stage in the unfunny mess he's created. He spends the entire play looking awkward, even when the Brit with the back-story and the hooker with the heart tell him how cute he is, and has no one but himself to blame...

Whatsonstage.com“Lacks the glue of his own existential angst...” Still, I enjoyed it as an American lifestyle satire. Braff is an immensely likeable and alert comic performer in his goofy reactions and smart silver suit, and Eve Myles and Susannah Fielding are cheerfully inventive throughout...

The Stage“Very well written and funny...” The play begins to investigate loneliness, friendship, the nature of self and of our place in the universe - like a stoned conversation without the pretension - and it opens out...

The Arts Desk“Never really amounts to much” Leaving one wondering, a little sadly, if a play of this relatively unambitious calibre would have been judged ready for the professional stage if (someone like) Braff’s name hadn’t been stapled to it not once, but a couple of times...

Guardian“A muddled, meandering affair that reeks of self-gratification...” When Emma finally says: "You know you really are cute, Charlie," I began to see the play for what it is: not merely a soggy reminder that we are all entitled to be unhappy but also an act of profound self-veneration...