Nilton Emilio

There’s no denying that when 'The Pitch" stays in the office, it’s alive—taut, funny, and honest. Alper clearly knows this world; he writes its jargon and swagger with precision. But each time the play strays from the phones and the whiteboard, it forgets its own best pitch. As a showcase for a terrific ensemble and Keller’s crisp direction, it’s worth the listen. Yet, like a salesman who can’t stop talking after he’s closed the deal, The Pitch doesn’t know when to hang up. When it stays on the phone, it’s riveting; when it hangs up, we’re stuck on hold. [more]