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BEST DIRECTOR: Geoffrey Kent directed Waiting for Godot at the Arvada Center in the spring, followed by The Foreigner in fall, and his talent for comic schtick — evident in both productions though very differently employed in each — is peerless. -Juliet Wittman, WESTWORD
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Opened three plays in as many days for the Utah Shakespeare Festival's 2017 season.
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As Oliver, Geoffrey Kent's repentance seems so genuine that we never question it.
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Here an emphasis on vaudevillian antics, including physical shtick reminiscent of the Marx brothers, offsets the difficulty of the philosophical exploration. Particularly in the first act, silliness eclipses the desperation and pointlessness. By the second act, when aching emptiness really kicks in, the darker, more disturbing tones take hold. -Joanne Ostrow, Denver Post
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...very few share Geoffrey Kent’s mixture of intellectual curiosity and cheerful iconoclasm, his delight in fiddling with minute details while also introducing big bold moves ... or his ability to sense the rhythm and poetry of a piece. -Juliet Wittman, WESTWORD
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...Why did I laugh so hard, nearly all the way through? If it’s not masochism, it must be great theatre. Credit goes to Geoffrey Kent’s superb direction... -Patrick Dorn, patrickdorn.com
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As the peacekeeper, Kent is especially strong in the effortless way of men who have taken beatings in the past, won more fights than lost, and now have nothing to prove. If a body needs a nudge to get back on the straight and narrow or just grow up, he’s the man to step up and do what needs doing.
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“For 90 minutes I laughed continually. I wasn’t expecting to, but I certainly did.” -CBS4’s Critic at Large Greg Moody.
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Is the message that we’re better off without our gods? That a god-free universe might be less murderous, vicious and petty? I don’t think there’s a message at all. Just ninety minutes of sheer hilarity... [and] excellent pacing, courtesy of director Geoffrey Kent.
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Doug’s got a pretty light touch, so it still sounds like Shakespeare. We’re not saying, ‘Yo, dude!’ or anything,” Kent says. “I really think the goal is to create scripts that are a little less legwork for the actor and a little more accessible to the modern ear.