Tony Marinelli

“Leavitt has written a seriously comic gem, one that earns every laugh while quietly preparing the ground for moments of genuine emotional force.”

“It transforms a neglected American tragedy into an act of living remembrance while simultaneously expanding the expressive possibilities of musical theater itself.”

“It is the kind of evening that renews one’s faith in what live theater alone can accomplish.”

“It is a breathtaking debut from a major new playwright, a triumph of direction and design, and a showcase for two performances of extraordinary depth.”

“Then the Rodeo Burned Down, Xhloe and Natasha have created a work of rare imagination and startling originality.”

“Lieberman has fashioned an evening that is untidy, ambitious, funny, and unexpectedly tender.”

“Heather Christian has created one of the most unclassifiable works in contemporary American theater, and also one of the most profound.”

“Against considerable odds, The Emporium emerges as a living, breathing piece of theater—funny, strange, touching, intellectually adventurous, and finally quite overwhelming in its generosity of spirit.”

“It is a work of considerable intelligence and emotional force—one that grips, disturbs, and compels in equal measure.”

“In this, the production achieves something rare: it transforms a known story into an experience that feels newly urgent, its implications radiating outward long after the final moment has passed.”

“Murphy’s bravura Scorched Earth is a work of rare ambition and even rarer realization: a piece that trusts the intelligence of its audience, that revels in the permeability of form, and that understands, with almost frightening clarity, how the past continues to choreograph the present.”

“Their Wild Party arrives like a runaway train of jazz, gin, and envy, its momentum at once intoxicating and annihilating.”

“What lingers, in the end, is the uncomfortable recognition that the characters’ hubris is not entirely alien.”

“Body Count may not function as a comprehensive treatise on contemporary sexual politics, but it is undeniably electric as a performance vehicle.”

“Marcel on the Train emerges as both portrait and parable—an account of an artist formed in extremis, and a reminder that the most resonant acts of resistance are sometimes performed in silence.”

“Instead, she trusts comedy—raucous, nimble, occasionally absurd—to expose the absurdities of power and the tragicomic ironies of transition.”

“What lingers is less a portrait of monstrosity than of normalcy.”

“The mosaic remains a mosaic: colorful, earnest, intermittently delightful, but rarely fused into a singular, resonant picture.”

“In the end, this bold, darkly funny, and unexpectedly tender work stands as a testament to the theater’s capacity to anatomize intimacy without anesthetizing it: a funny, poignant hour that leaves its audience pondering not only these two characters but the mysterious machinery of desire itself.”

“At the end of 80 minutes, we are so glad she came.”

“Malloy’s masterwork is a triumph in that it touches us so deeply as it entertains.”