 The revamped concerts were also met with critical acclaim . Mark Savage from BBC Online reviewed the first of the revised performances in the United Kingdom . Savage described the concert as a hugely ambitious , terrifyingly loud show , " spread over four acts and held together by a flimsy ' narrative ' about Gaga and her dancer friends trying to get to a party . " He was also impressed that the entire spectacle was put together in just four weeks . MTV 's James Montogomery reviewed the first North American performance of the tour in Montreal , Canada . He said that the tour was " packed with more wattage than an overheated power plant and more costume changes than a thousand Vegas reviews , it 's the kind of show that leaves you with wide eyes , ringing ears , aching limbs and absolutely zero chance of making it to work in the morning . " New York Daily News writer Jim Farber expected that the theatricality of the show might have obscured the songs , but instead felt that Gaga 's voice was perfect and the concert actually " pushed Gaga a long way towards her obvious goal – to be the queen of this pop moment . " Glenn Gamboa from Newsday said that Gaga " built her monster @-@ sized fame on knowing how to create a spectacle and then having the substance to back it up . For every coat made of Kermit the Frog dolls or headdresses that covered her face in red lace , there was a stomping disco anthem or tender piano ballad to match . That back and forth is the centerpiece of her Monster Ball Tour . " Dan Aquilante from the New York Post was critical of the show , calling it " scripted , silly , and tired , right down to Gaga 's patter . " He added that the 15 costumes Gaga wore during the two @-@ hour plus gig were " more successful helping her cement the notion of an erotic and exotic otherworld . " Writing in the Telegram & Gazette , Craig S. Semon was appreciative of the show , calling it " an out @-@ of @-@ this @-@ world blast and end @-@ of @-@ the @-@ world blow @-@ out that must be seen to be believed . " 
