An Off Broadway revival in 1996 drew mixed reviews; Ben Brantley of The New York Times wrote of the production, "weaknesses that were acknowledged but forgiven 30 years ago glare more fully: the repetitiveness of Mr. Schmidt's sweet, slender melodies; the bald predictability of Mr. Jones's simple rhymes and the utterly generic nature of the characters".
A separate report on industrial production showed weaknesses in the manufacturing sector, which is grappling with tepid consumer demand.
This highlights the production's greatest weakness, which is to imply that suburbia is a lower-middle class enterprise when in fact it has all the usual social gradations.
One can also mention the scattering of small holdings, the measure banning carbide TIF (ref. chap.4.5), the poor state of roads, the remoteness of areas with high production potential, the weakness of investments in agriculture and the lack of governmental action to support exports.
A scouting report follows: Weaknesses: Production, consistency.
But in Exit the King, a later work from 1962, he aims for a pseudo-classical, blackly comic grandeur that, in spite of the undoubted vigour of Jeremy Sams's new translation and Laurence Boswell's production, exposes his weaknesses as well as his strengths.
There can be slight criticism of the production aside from the weakness of the story itself.
In Constellation Theatre Company's production of "Metamorphoses," the weakness on view is mugging.
The government said exports were "showing weakness" and production was flat.
Honda Motor slowed by 6.2%, to 1,685 yen ($18.15), after an executive said the automaker could be forced to reduce production further amid continued weakness in the key U.S. market; Toyota Motor downshifted by 3.6%, to 2,700 yen ($29.10).
