“I have a feeling that “Opposite…” may be received as a divisive piece. It will certainly make people angry and uncomfortable for wildly divergent reasons. Honest pieces have a tendency to do that.”

“John Patrick Shanley’s bizarre new play “Candlelight” is an ambitious hodgepodge of genre-jumping exuberance that will leave you breathlessly befuddled.”

“The end product is about lonely, confused, wounded people needing to heal, making a connection regardless of nationality or the color of their skin. The judicious outcome is that there are no illegal human beings and in a benevolent world.”

“The Pool, an artist-led pop-up theater company producing three ambitious new plays in rep, electrifies at The New Ohio Theater downtown. Catch them one at a time or settle in for a three-show day doozy; individually and collectively, this year’s cycle of Pool Plays is sure to linger long on the mind, coating the audience in a sickly-sweet malaise wrapped in deceptively charming premises.”

“Zoë Geltman’s “Puffy Hair” transforms beyond stand-up comedy to shocking and delicious intimacy, as mesmerizing as drunk-meeting the girl in the bathroom simultaneously melting and grandstanding for boy advice that never fails to bond the toilet’s tenants together.”

“A Grave Is Given Supper” clearly has a lot of talent behind it. Beautiful poetic language, creative design, and a great performance by Elena Hurst. But it doesn’t utilize those things in a way that forms a clear connecting story or series of ideas.

““Liminal Archive” is a show that is somehow both incredibly personal and incredibly universal. With six separate pieces that stand out in their own right as well as part of a whole, and six performers who put everything they have into every moment, you’ll leave the theatre feeling fuller than you left it.”

“The Importance of Being Earnestly LGBTQ+” is a delightfully imaginative adaptation that demonstrates a clear understanding of Wilde’s text while also making it fresh for the modern audience.

“James Ijames’ play is brilliantly written, entertaining, and emotionally persuasive.”

Just watching Jason Danieley engage in this vocal moment with a resilient emotional strength as he looked up and sang to his beloved wife, the late Broadway actor Marin Mazzie, was highly moving

With breathtaking theatricality, stinging poignancy, biting humor, and deep empathy, The Siblings Play gives voice to multicultural New Yorkers rarely seen on the stage.

“How to Have an Affair has all the right pieces but lacks the defined presence of an unseen character that is central to the story.”

‘“Anywhere” finds sophistication in its simplicity, a quiet, unsettling beauty about humanity’s unwavering ability to keep moving forward, one foot in front of the other, no matter how challenging the walk.”

“The premise and process of “P*ssyc*ck Know Nothing” is rooted in a small note in the program: the company, anchored in an aim of “radical inclusivity,” created this play.”

Townsend’s performance of the elegy (this is far more than a reading) evidence’s Muldoon’s deep respect and enduring love for the American visual artist Mary Farl Powers who died of breast cancer in 1992 after refusing any treatment.

“The Karamazovs” is a playful kaleidoscope of the traditional and contemporary, a passionate retelling of a timeless struggle between justice and love that will leave you haunted and resilient.

‘“Suicide Forest” is a bilingual phantasmagoria that excavates the Japanese-American consciousness and its intimate relationship with sex, suicide, and identity through a simultaneously witty and horrifying juxtaposition of time and space jumps that proves Haruna Lee to be a writer and performer unparalleled on stage today.”

This certainly is a controversial production that will cause conversation and possibly disagreement on the way home from the theatre. The question is the verdict.

“Drumfolk is ultimately a riveting and entertaining evening, never heavy-handed in its careful examination and triumph over history, but majestic, self-assured, powerful with every breath and beat.”

“Here the atmosphere is electric with anticipation; a groovy band plays crowd-pleasing covers while the sanctuary’s pews and newfound “groundling” tables up front are illuminated with the ethereal glaze of fairy lights. Such is the intoxicating tone set by Hamlet Isn’t Dead’s glorious production of Twelfth Night.”