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- The Edenites by Stuart Bousel
- The Idiolect June 23, 2011 (Sam Hurwitt) "A simple, bittersweet
comedy about a group friends and lovers, but its funny, likeable characters
and sharp, sparkling dialogue make it one well worth watching"
- Marissabidilla June 2, 2011 (Marissa) "A
strong cast is key to the success of Edenites, because the play is all
about exploring the depths of its characters -- showing how they surprise
one another and even surprise themselves."
- Lucky Girl by Frances Driscoll & Thomas Juarez
- SF Bay Guardian May 11, 2011 (Robert Avila) "Juarez crafts an engagingly
dynamic and delicate narrative arc from Driscoll's thematically joined
but otherwise disparate poems, gorgeously formulated verses that delve
into a devastating subject with an unexpected range of humor, insight,
and compassion. This supple range is acutely grasped and exquisitely interpreted
by Smith, whose gripping performance (keenly directed by Kathryn Wood)
eschews anything remotely sentimental for a complex and moving portrait
of the enduring aftermath of terror."
- A Most Notorious Woman by Maggie Cronin
- SF Bay Guardian May 11, 2011 (Nicole Gluckstern) "Watching Augello
shift between the two strong-willed characters is the production's greatest
pleasure, along with some clever set and costuming flourishes courtesy
of John Mayne and Laura Hazlett."
- Stark Creek May 10, 2011 (Cy Ashley-Webb) "A one-woman show about
Gráinne Ní Mháille, aka Grace O’Malley, the 16th
century Irish pirate who was the bane of those with the temerity to fish
along the shores of County Mayo."
- Eleanor by Margery Fairchild
- SF Bay Guardian May 11, 2011 (Nicole Gluckstern) "Alice Moore as the
titular queen is a delicious blend of regal and calculating, and Nathan
Tucker as her equally conniving consort, Henry II, makes a surprisingly
vital and robust king."
- Risk Is This ... by Cutting Ball Theater
- SF Chronicle May 12, 2011 (Nirmala Nataraj) "We want to make sure
to give space to the unique extraordinary voices out there and let them
develop their work."
- Eleanor by Margery Fairchild
- SF Bay Guardian May 11, 2011 (Nicole Gluckstern) "Alice Moore as the
titular queen is a delicious blend of regal and calculating, and Nathan
Tucker as her equally conniving consort, Henry II, makes a surprisingly
vital and robust king. The design elements are strong, and Dark Porch Theatre's
trademark live music and physical-movement interludes are cleverly arranged."
- Hermes
by Bennett Fisher
- HuffingtonPost.com March 23, 2011 (George Heymont) "Hermes does an astonishing
job of explaining the similarities between believing in god and believing
in debt."
- theidiolect.com March 18, 2011 (Sam Hurwitt) "An entertaining evening.
The dialogue is snappy, the pace is brisk and the performances pretty solid."
- Obscura - A Magic Show by Christian Cagigal
- San Francisco Bay Guardian March 23, 2011 (Robert Avila) "Rapid-fire narration
and a laid back, slightly mischievous demeanor combine here with consummate
skill in an intimate and very enjoyable evening of crafty little tales."
- San Francisco Examiner February 24, 2011 (Leslie Katz) "With his thoroughly
intriguing and entertaining one-man presentation “Obscura: A Magic
Show,” Christian Cagigal proves a fine example of the adage “good
things come in small packages.”
- SF Bay Guardian "Best
of the Bay - Reader's Poll" Christian Cagigal - Best Magician
- SF Weekly October 13, 2010 (Keith Bowers) "Christian
Cagigal, on the other hand, says his aim is to 'slightly, lovingly creep
out the audience – to put them in the middle of the magic, rather
than showing them something.'"
- thebolditalic.com October 5, 2010 (Antonia Richmond) "Trust me, I was
a skeptic ..."
- The Daily Journal June 25, 2010 (Susan Cohn) "After seeing one unexpected
twist after another, you will be inclined to believe that the correct answer
to 'Do You Believe in Magic?' is a resounding yes"
- SF Weekly July 28, 2010 (Benjamin Wachs "A sly San Francisco
tradition"
- SF Examiner June 17, 2010 (Jason Victor Serinus) "Strange things
will happen and dark stories will be told"
- EXIT Press
- American Theatre Magazine March 2011 (Eliza Bent) "For San Francisco's 27-year-old
EXIT Theatre, the decision to publish plays came as a no-brainer—albeit
a thoughtful one."
- SF Bay Guardian December 22, 2010 (Nicole Gluckstern) "From reimagined
Shakespearean classics (R&J, I Am Hamlet) to Jackson's breakout
hit The Death of Meyerhold, the bleakly comedic American $uicide,
and the stirring Kurosawa-esque epic The Forest War, what these
plays have in common is an audacious commitment to the illimitable possibilities
of live theater"
- Lady Grey (in ever lower
light) and other plays by Will Eno
- San Francisco Bay Guardian March 23, 2011 (Robert Avila) "Melrose gets
superbly dry performances from his cast (in Intermission), doing full justice
to this light but cunning little play riffing on theater's capacity for
channeling yearning, regret, and blank obliviousness."
- Hobo Grunt Cycle by Kevin Augustine
- San Francisco Bay Times February 24, 2011 ( Lily Janiak) "This production,
a puppet-based meditation on clowns, army vets and dog fights, isn’t
just beautiful; it raises vital metatheatrical questions"
- San Francisco Chronicle February 19, 2011 (Robert Hurwitt) "His puppetry with
his sidekick mutt, called Hobo, is brilliant"
- SF Bay Guardian February 16, 2011 (Nicole Gluckstern) "Hobo Grunt
Cycle is performed in silence, a nod to the tradition of pantomiming tramp-clowns
such as Emmett "Weary Willie" Kelly, as well as a symbolic comment
on the blanket secrecy that shrouds many veterans of conflict during and
after their tours of duty."
- SF Chronicle February 17, 2011 (Nirmala Nataraj) "A keenly poetic
attention to suffering, trauma and the historical onus of war has informed
Augustine's new work, 'Hobo Grunt Cycle.'"
- SF Weekly January 12, 2011 (Chris Jensen) "Ten Must-See Spring
Season Bay Area Plays: You may think you have an aversion to pitbulls,
clowns, or both, but don't let that stop you from checking this out."
- Bone to Pick and Diadem by Eugenie Chan
- SF Weekly January 12, 2011 (Chris Jensen) "Cutting Ball is one
of San Francisco's most dependable outlets for smart, offbeat, well-produced
plays"
- Ten Plays by Mark Jackson
- SF Bay Guardian December 22, 2010 (Nicole Gluckstern) "From reimagined
Shakespearean classics (R&J, I Am Hamlet) to Jackson's breakout
hit The Death of Meyerhold, the bleakly comedic American $uicide,
and the stirring Kurosawa-esque epic The Forest War, what these
plays have in common is an audacious commitment to the illimitable possibilities
of live theater"
- Cora Values' Christmas Corral by Sean Owens
- SF Bay Guardian December 10, 2010 (Nicole Gluckstern) "A ragtag crew
from the Gas 'N' Gulp in Rectal, Texas, bumble through a singular interpretation
of the tale."
- Comedy Ballet by Martin Schwartz
- SF Bay Guardian November 10, 2010 (Robert Avila) "A fractured meta-theatrical
tale about death"
- The Tempest by William Shakespeare
- SF Chronicle November 15, 2010 (Robert Hurwitt)
- 2010 San Francisco Fringe
Festival
- San Francisco Chronicle September 13, 2010 (Robert Hurwitt)
""Blood" is the intensely personal made universal, one
Jewish lesbian's wrestle with a legacy of shame transformed into eloquent
art ... "Burroughs" is a blithely mind-altering visit that soars
with wry wit on excerpts from its namesake's writings."
- New York Times September 2, 2010 (Chloe Veltman) "At the center of
this activity is the Exit Theater, the producer of the annual San Francisco
Fringe Festival (Sept. 8 to 19) and one of the biggest stars on the local
small-theater stage."
- Daily Cal September 13, 2010 (Arielle Little, Hannah Jewell and Liz Mak)
"These aren't the plays you read in high school English class,
to be certain. They seem dangerous, maybe a little bit edgy. They are.
They are among the new, the daring, the many shows to be performed at the
San Francisco Fringe Festival this year"
- starksilvercreek.com August 2, 2010 "Start with the 1882 Chinese Exclusion Act
that consigned immigrant families, often for years, to Angel Island in
the middle of San Francisco Bay. Jump ahead 120-or-so years to a troupe
of young Asian-Americans performing sketch comedy that consigns audiences
to rolling in the aisles. The journey comes full circle at the 2010 San
Francisco Fringe Festival"
- The Laughing Squid September 9, 2010 (Mikl-em) "The San Francisco Fringe
Festival has been a fixture in San Francisco for nearly two decades ...
a diverse, uncurated mass of theatrical art which favors straightforward
performances and no-nonsense production."
- San Francisco Sentinel August 4, 2010 (Seán Martinfield)
"The San Francisco Fringe Festival is back, bringing theatre
performances that are rare, raw, raucous, and remarkable."
- Flavorpill.com September 9, 2010 (Ilya Tovbis) "Attending the SF
Fringe Festival is a bit of a crapshoot by design: coveted performance
slots are awarded by chance via a lottery ... the majority of Fringe productions
come right from our own backyard, meaning that zaniness and innovation
won't be in short supply.
- San Francisco Chronicle September 9, 2010 (Nirmala Nataraj)
"The San Francisco Fringe Festival is a veritable smorgasbord of
offerings that has drawn both voracious theater-goers and tentative performance
dabblers over the years."
- The San Francisco Olympians
Festival by No Nude Men Productions
- SF Weekly July 28, 2010 (Hiya Swanhuyser) "12 plays, one for
each of the severe egotists who occupy Mount Olympus"
- Gutenberg! The Musical! by Scott Brown and Anthony King
- SF Bay Guardian June 9, 2010 (Sam Stander) "In the grand tradition
of theater about theater"
- Giant Bones by Stuart Bousel
- SF Weekly June 9, 2010 (Benjamine Wachs) "Giant Bones
is that rare play that does everything perfectly"
- BeyondChron.org May 18, 2010 (Lee Hartgrave) "Astonishing" "Stunning"
"Blew Me Away"
- StarkSilverCreek (May 17, 2010 (Clinton Stark) "An intriguing and challenging
piece that once again demonstrates the power of small, black-box theater"
- SFist
May 14, 2010 (Chris Jones) "The excellent writing is only made
better by the work of the cast, all of whom do an outstanding job in bringing
this fantasy world to life."
- SF Examiner May 20, 2010 (Janos Gereben) "The rich, attractive
work, featuring an outstanding cast of 10, is certain to go on to other
venues."
- KQED Arts May 18, 2010 (Ben Marks)
- Lady of the 'Loin by Sean Owens & Don Seaver
- SF Examiner April 12, 2010 (Albert Goodwyn) "A lively, perceptive
hour of late-night cabaret"
- SF Chronicle 96 Hours July 23, 2009 (Andrea Abney) "'Lady of the 'Loin':
Hit show making a return"
- The Wind and Rain by Claytie Mason & the ensemble
- SF Chronicle April 19, 2010 (Robert Hurwitt)
"'Wind and Rain' lovely, lethal and lyrical"
- SF Examiner April 14, 2010 (Jean Schiffman) "Woven throughout
with fraught silences, and with exquisite, dancerly expressions of rage,
fear, dread, exhilaration, passion and, in one breathtaking scene, speechless
wonder"
- SF Weekly April 14, 2010 (Silke Tudor) "A haunting but offbeat
version"
- ... And Jesus Moonwalks
the Mississippi by Marcus Gardley
- San Francisco Chronicle March 24, 2010 (Robert Hurwitt) "It undulates, narrates,
entices, floods, beatboxes and sings traditional spirituals like an angelic
female chorus. And, yes, when the time comes, Jesus can moonwalk with the
best."
- San Francisco Bay Guardian March 31, 2010 (Robert Avila) "A work both magnificently
simple and eloquently evocative"
- TheaterDogs.net March 21, 2010 (Chad Jones) "Powerful, mesmerizing
and complete with bolts of humor and tragedy, …and Jesus Moonwalks
the Mississippi is an intimate epic that pulses with power and beauty"
- Marin Independent Journal March 24, 2010 (Sam Hurwitt) "What you're witnessing
is not just a fascinating new play, but an important one"
- San Francisco Bay Guardian March 24, 2010 (Robert Avila) "A work both magnificently
simple and eloquently evocative"
- www.beyondchron.org March 26, 2010 (Bussin' Lee Hartgrave) "I urge you
to see this “unusually Vivid and Convincing play!” You won’t
be sorry. It is astounding, powerful and inventive!"
- SF Examiner March 22, 2010 (Leslie Katz) "A deeply moving, challenging
poetic drama punctuated by a spiritually uplifting church service"
- San Francisco Chronicle March 18, 2010 (Regan McMahon "A provocative swirl
of traditional storytelling, gospel music, Christian spirituality and American
history, it explores perplexing issues of race, identity, forgiveness and
redemption."
- SF Weekly March 31, 2010 (Chris Jensen) "Brims
with energy, poetry, and clever ideas"
- San Francisco Examiner March 18, 2010 (Georgia Rowe)
"A mythical story of a freed slave searching for her daughter after
the Civil War"
- Death Play by Sang S. Kim
- San Francisco Chronicle March 10, 2010 (Ryan Villarreal) "In a familiar city,
only two theater companies remain for one last supportable theater space."
- Now and at the Hour by Christian Cagigal
- San Francisco Examiner February 25, 2010 (Leslie Katz) "A powerful, and at
times, even a meditative experience — engaging from start to finish"
- Chad Jones' Theatre Dogs February 14, 2010 (Chad Jones) "How many shows are
both astonishing and moving? Cagigal’s Now and at the Hour is both.
Cagigal engages the heart and the imagination, making him a magician to
watch with a show to see sooner rather than later."
- sfstation.com July 17, 2009 (Nirmala Nataraj) "What Cagigal’s
show boils down to is that you don’t need bells and whistles to manufacture
a showstopper"
- SF Bay Guardian July 22, 2009 (Robert Avila) "Blending consistently
dumbfounding displays of prestidigitation and a dramatic narrative with
a power of its own"
- SF Weekly July 8, 2009 (Chris Jensen) "Magic is a lonely discipline,
full of secrets — but here is a performer who managed to put all of
his childhood loneliness to thrilling use"
- Flickr (tangobaby) "Christian Cagigal's new magic show is
playing at the EXIT Theatre. Go see it, he's awesome. And they used my
photo for the promo! YAY!"
- Yelp June
27, 2009 (Peter L.) "5 STARS"
- SF Bay Guardian July 8, 2009 (Victoria Nguyen) "Christian Cagigal
is on a mission to retrain your brain"
- The Edge
June 8, 2009 (Marvin Candle) "This show is not only about magic;
there is an amazing amount of heart laced throughout ... a truly special
experience"
- nytheatre.com March 2009 (Danny Bowles) "Now and at the Hour is
a unique and genuine theatrical experience that should not be missed"
- newtheatercorps.blogspot.com March 8, 2009 (Aaron Riccio) "What's
especially nice about Cagigal's performance is that the flair isn't squandered
on razzle-dazzle effects; instead, it builds a strong narrative"
- SF Weekly
February 4, 2008 (Chloe Veltman) "Armed with an assortment of
esoteric items, the shadowy wizard blends magic, storytelling, mind reading,
and theater to take the audience on a trip through memory and time."
- Cora's Recipe for Love by Sean Owens
- SF Bay Times February 18, 2010 (Albert Goodwyn) "Cora is a frothy
concoction mixing together a generous helping of Dame Edna and Martha Stewart
with a dash of Julia Child"
- Cultural Landscape February 24, 2010 (George Heymont) "Cora's skill as
a storyteller, yarn spinner, and cunning linguist gave the evening a special
aura of redneck literacy with three types of sprinkles on top"
- Akin: It's In The Blood
by Noah Kelly & Sarah McKereghan
- My Cultural Landscape January 25, 2010 (George Heymont) "A very impressive
evening of theatre"
- Better Homes and Ammo by Wylie Herman
- SF Bay Guardian December 16, 2009 (Robert Avila) "A promising debut
from Herman, and if the world doesn't end first we can expect better ammo
down the line."
- Doctor Theatre's Bliss (December 7, 2009 (Albert Goodwyn) "With dark humor
and satirical wit ... Ammo lampoons the American way with broad strokes"
- SF Examiner December 4, 2009 (Jim Strope) "Herman's use of archetypal
moments is brilliant"
- SF Chronicle 96 Hours December 3, 2009 (Alexandria Rocha) "A post-apocalyptic
satire of suburban American life"
- The Bald Soprano by Eugene Ionesco
- SF Bay Guardian November 18, 20009 (Robert Avila) "A breezy and laugh-filled
70 minutes ... artistic director Rob Melrose's staging is exactingly precise
yet nimble enough to seem almost carefree"
- SF Weekly November 11, 2009 (Chris Jensen) "It's glorious and
weird, and you absolutely shouldn't miss it"
- SF Examiner October 13, 2009 (Emily Wilson) "Rob Melrose directs
and translates The Bald Soprano for Cutting Ball Theater's 10th anniversary"
- How I Learned to Stop Worrying
and Lost My Virginity by Aileen Clark
- SF Chronicle October 29, 2009 (Alexandria Rocha) "Clark's one-woman
show blends comedy and chaos"
- Zombie Town by Sleepwalkers Theatre
- SF Bay Guardian October 21, 2009 (Robert Avila) "Sleepwalkers' Zombie
Town has brains (and eats them, too!)"
- San Francisco Fringe Festival
2009
- SF Chronicle (Robert Hurwitt) September 11, 2009 "3 hits without
a miss on Fringe opening night"
- SF Bay Guardian Rob Avila) September 16, 2009 'The multi-venue Exit Theatre–centered
Fringe, lottery-based democratic mayhem at its most unsound and intriguing,
appears as youthful as ever"
- Chloe Veltman Blog (Chloe Veltman) September 15, 2009 "This was probably
the best day of Fringeing I've experienced to date"
- All's Fair by Meg O'Connor and Jess Thomas
- SF Examiner August 9, 2009
- EXIT Theatre
- Theatre Bay Area Chatterbox July 18, 2009 (Karen McKevitt) "Three eclectic, fun
and brilliant shows at the EXIT Theatreplex"
- The Unexpected Man by Yasmina Reza
- SF Chronicle July 15, 2009 (Robert Hurwitt) "The chance to catch
two masterful performances up-close and personal in the Exit's intimate
space"
- SF Weekly July 22, 2009 (Jonathan Kiefer) "Hghly
gratifying — both a literary and a theatrical affirmation"
- SF Bay Guardian July 22, 2009 (Robert Avila)
- Château en Suède by Françoise Sagan
- SF Bay Guardian June 3, 2009 (Robert Avila) "A weekend run of Château
performed, bien sûr, en français"
- Krapp's Last Tape by Samuel Beckett
- SF Examiner May 27, 2009 (Jean Schiffman) "To watch Gerrior’s
quietly mesmerizing performance is a revelation"
- Daily Californian May, 2009 (Arielle Little) "utterly entrancing"
- beyondchron.org June 5, 2009 (Buzzin' Lee Hartgrave ) "Krapp's last
Tape is involving and heart-rendering. Paul Gerrior (Krapp) is just the
perfect actor to flesh out the full meaning of the play. 'He is nothing
short of Brilliant!' "
- The In Betweens by Margery Fairchild
- SF Weekly May 13, 2009 (Nathaniel Eaton) "A lovely hybrid of
dream, dance, and theater"
- An Affair of Honor by Lee Kiszonas
- SF Chronicle April 7, 2009 (Robert Hurwitt) "She could wield a
sword as easily as sing an aria"
- Thom Pain (based on nothing) by Will Eno
- SF Chronicle April 5, 2009 (Robert Hurwitt) "Jonathan Bock is riviting
as the narrator, folding stories inside digressions about nothing but pain,
love, childhood, truth and narrative itself"
- SF Examiner April 2, 2009 (Leslie Katz) "The
intimate space is the ideal setting for the unusual, sometimes funny, sometimes
scary, always involving and provocative hour-long performance"
- theatredogs.net March 29, 2009 (Chad Jones) "A great piece of theater that
makes you simultaneously thrilled to be alive and filled with despair"
- beyondchron.org March 27, 2009 (Buzzin' Lee Hartgrave)
"RATING: FOUR GLASSES OF CHAMPAGNE!!!! (highest rating) "
- SF Weekly March 25, 2009 (Nathaniel Eaton) "Solidly one of the
best pieces of theater I've ever witnessed ... It's brilliant"
- SF Bay Times March 19, 2009 (Albert Goodwyn)
"Cutting Ball’s production makes exquisitely concentrated use
of the stage space of their Tenderloin theater"
- SF Bay Guardian March 25, 2009 (Robert Avila) "An
aggressively funny, coolly insouciant piece of theater terrorism now up
in a laser-focused, captivating production"
- SF Chronicle March 19, 2009 (Sarah Han) "His stream-of-consciousness-style
monologue is existential, at times surreal and suffused with humor - a
rant representing a lost generation who never learned how to feel"
- Pure Shock Value by Matt Pelfrey
- SF Chronicle March 3, 2009 (Robert Hurwitt) "Though playwrights
and filmmakers have been skewering Tinseltown greed, corruption, desperation
and delusion for eight decades, Matt Pelfrey's "Pure Shock Value"
is hilarious proof that the well is far from dry. Pelfrey takes familiar
tropes, snarks them up and drives them to death and beyond."
- SF Bay Guardian March 11, 2009 (Robert Avila) "Vital, grippingly funny,
and outrageous"
- edgesanfrancisco.com March 2009 ( Kevin Langson)"Astonishingly witty dialogue and riotous situations"
- goldstar.com March 2009 (member Ken from Kensington
review) "This has to be the best thing so far this year, and
the most involving to boot"
- SF Chronicle February 26, 2009 (Andrea Abney) "Matt Pelfrey's seen
the face of desperation - and it isn't pretty."
- SF Weekly February 25, 2009 ( Hiya Swanhuyser) "The latest stage
production from sketch comedy troupe Killing My Lobster"
- End of the Trail by Kenny Shults and Sean Owens
- newtheatercorps.blogspot.com (Cindy Pierre) "End of the Trail may denote the last
moments of these characters' lives, but let's hope it's the beginning of
a long and fruitful collaboration between the writers behind them."
- nytheatre.com "Owens and Schults have created a work that is clearly
dear to their "fool hearts"—and the piece and their performances
shine because of it."
- Washington Square News March 4, 2009 (Lizbette Ocasio-Russe) "A hysterical
journey in which two friends explore themselves through embarrassing confessions,
regrettable truths and witty accusations"
- Jihad for Vent and Dummy by Ron Coulter and Sid Star
- nytheatre.com February 25, 2009 (Richard Hinojosa) "A thinking person's
vaudeville act"
- The Maids by Jean Genet
- SF Bay Guardian February 11, 2009 (Miller) "The Maids could start
a resurgence of Genet on San Francisco stages"
- Mud
by Maria Irene Fornes
- San Francisco Chronicle January 13, 2009 (Reyhan Harmanci) "The Cutting Ball,
a company known for taking risks, makes a wise bet on 'Mud.'"
- San Francisco Bay Guardian January 21, 2007 (Robert Avila)
"Cutting Ball Theater's beautifully detailed, committed production
marks a strong directorial debut for actor and associate artistic director
Paige Rogers, who gets three well-crafted, mature, and focused performances
from her striking cast."
- San Francisco Weekly January 21, 2007 (Chloe Veltman)
"Cutting Ball Theater's
beautifully detailed, committed production marks a strong directorial debut
for actor and associate artistic director Paige Rogers, who gets three
well-crafted, mature, and focused performances from her striking cast."
- beyondchron.org January 16, 2009 (Buzzin' Lee Hartgrave) "Clear your
calendar to see “Mud” – a heartbreaking story of resilience,
hope, and how far people will go to get it."
- Here
by Michael Frayn
- San Francisco Bay Guardian January 28, 2009 (Robert Avila) "Evokes much of the
strain and confusion love brings in the wake of its supposed harmonizing
of interests and personalities, with hilarious attention to quotidian logic
as well as the vagaries of memory and time"
- James Judd's 7 Sins
- SF Bay Guardian February 4, 2009 (Nicole Gluckstern) "Judd has an amusingly
over-the-top performance style, honed no doubt by his childhood watching
soap operas on behalf of his working mother, and his comic timing is relentless."
- San Francisco Chronicle May 30, 2008 (Robert Hurwitt) "Judd
reports to be gratefully surprised by how quickly tickets ($14-$20) for
the EXIT run are selling out"
- Victims of Duty by Eugene Ionesco
- SF Bay Guardian November 5, 2008 (Robert Avila) "Cutting Ball Theater's
sleek production includes unexpectedly fertile valleys of grief, betrayal,
and sexual sublimation as well as gleaming peaks of unfettered violence
and Marx Brothers–like mayhem"
- San Francisco Chronicle November 1, 2008 (Robert Hurwitt) "The
particular delight Cutting Ball Theater Artistic Director Rob Melrose creates
with Ionesco's rarely seen "Victims" derives from his skill in
exploiting the many twists in the author's metatheatrical humor to brightly
comic and unexpectedly touching ends."
- Palo Alto Daily News November 2008 (John Angel Grant)
- SF Weekly November 12, 2008 (Molly Rhodes)
- Cutting Ball Theater wins
2009 Bay Guardian GOLDIE Award
- San Francisco Bay Guardian November 5, 2008 (Robert Avila) "A passionately intelligent
and skillful company with a declared commitment to poetic truths over superficial
naturalism"
- I'm Yours or Destroyed by Love by Precarious Theatre
- San Francisco Chronicle October 12, 2008 "Precarious Theatre's intoxicating
original comedy inspired by an episode from the classic novel Don Quixote"
- San Francisco Weekly October 15, 2008 (Chris Jensen)
- Saved or Destroyed by Harry Kondoleon
- San Francisco Bay Guardian October 15, 2008 (Nicole Gluckstern)
- 2008 San Francisco Fringe
Festival
- San Francisco Chronicle August 3, 2008 (Robert Hurwitt) "Fringe-producing
EXIT Theatre is offering a sneak peek at some 10 solo artists and companies
performing excerpts from their Fringe shows"
- The Pandora Experiment by Christian Cagigal
- ArtsJournal.com August 7, 2008 (Chloe Veltman) "One
of the most lively evenings I've ever spent in the company of a magician
was when I caught San Francisco performer Christian Cagigal's solo magic
show"
- SF Weekly March 19, 2008 (Nirmala Majaraj) "Cagigal
-- one of those rare alchemists of the imagination who can transport you
into the realm of the extraordinary with little more than a line of poetry
-- is so charming that it's hard not to find yourself swept up in all the
enchantment."
- SF Chronicle March 20, 2008 (Reyhan Harcanci) "It's
like, can I bring people in to a fantasy world for a while. The more we
hurtle forward today, the more we desperately need that - to be in a magical
world."
- SF Bay Guardian March 12, 2008 (Robert Avila) "Dastardly
clever in conception and confoundingly smooth in execution"
- SF Station July 13, 2007 (Nirmala Najaraj) "The quiet intimacy
of the staging, unlike most illusions (which are solely superficial and
surface-based), makes you feel like you’re privy to a very special
secret, and that sense of mystery ripples through the entire show and gradually
into your very psyche."
- SF Weekly June 20, 2007 (Nara Dahlbacka) "Takes the audience
beyond just the willing suspension of disbelief and into another place
in time where magic is not the work of an illusionist or performer but
exists in creaky wooden boxes found in a grandparent's attic"
- Avant Gardarama
- San Francisco Chronicle July 26, 2008 (Robert Hurwitt) "Rogers is nothing
short of riveting as a mythic presence in Southwestern everywoman guise"
- San Francisco Weekly August 6, 2008 (Molly Rhodes) "Paige
Rogers sinks her teeth into Chan's muscular, direct language, never letting
the audience or her wayward lover off the hook"
- EXIT Theatre
- San Francisco Chronicle May 30, 2008 (Robert Hurwitt) "The
EXIT has become the place for underground hits to find added life these
days."
- "Sweetie" Tanya,
the demon barista of Valencia Street by Dan Wilson
- San Francisco Bay Guardia May 14, 2008 (Robert Avila) "'Sweetie'
Tanya feels like an off-Broadway-bound show that's generously consented
to remain off–Union Square for now"
- Medea Knows Best by Claytie Mason and Alissa Mortenson, Nebunele Theatre Company
- San Francisco Chronicle April 17, 2008 (Robert Hurwitt) "A devilishly clever
rethinking of the classic"
- CoolAsHellTheatre.com April 2008 podcast (Michael Rice)
- DIVA Cabaret
- San Francisco Bay Guardian
April 23, 2008 (Robert Avila) "The
late-night staging of song and sass hosted by rule-bender and honorary
diva Sean Owens, this enjoyably lounge-y evening takes its cue from the
smart, playful material and smoothly casual performances of seven chanteuses
and the off-the-cuff drollery of a cuffless Owens"
- CoolAsHellTheatre.com April 2008 podcast (Michael Rice)
- DIVAfest 2008
- Theatre Bay Area Magazine April 2008 (Aaron Sankin) "2008
looks to be one of the festival's strongest years yet"
- SF Weekly April 9, 2008 (Hiya Swanhuyser) "The
seventh instance of Divafest, the locally produced women's theater festival,
comes at you from all over the place."
- Mimetic by RIPE Theatre
- SF Bay Guardian March 26, 2008 (Nicole Gluckstern) "If you have yet to see RIPE Theatre in action, this show will
provide a gentle introduction to their method, and if you have, then you
probably already know what you're in for"
- SF Weekly March 19, 2008 (Nathaniel Eaton) "Fine
examples of skillful physical comedy ... with some hilarious moments"
- Ashes to Ashes by Harold Pinter and Afterplay by Brian Friel
- SF Bay Guardian February 27, 2008 (Nicole Gluckstern) "Overall, if
this production has a fatal flaw, it's that it is only being mounted for
a two-week run"
- Serve by Expiration by Thunderbird Theatre Company
- SF Weekly March 12, 2008 (Molly Rhodes) "The joys of online
porn, masturbation, and cursing out your superior"
- Bay Guardian March 12, 2008 (Nicole Gluckstern) "A
fearless lineup of Thunderbird regulars and a few newbies keep their faces
straight and the energy popping throughout"
- Her Majesty by Sean Owens
- nytheatre.com February 29, 2008 (Robert Attenweiler) "Owens and
Augello are able to convey the frenetic pace of good farce ... Her Majesty
is campy and tongue-in-cheek"
- nytheatre.com February 26, 2008 (nytheatre preview)
"Her Majesty is mile-a-minute lunacy, deeply rooted in the nobility
of theatre. Like a two-person Noises Off, it's a whirlwind of people, places
and plots, but the greatest gift to the audience is its sparkling dialogue
and keen characterizations."
- SF Bay Times February 21, 2008 (Linda Ayres-Frederick) "Backstage
shenanigans abound ... the plot has a distinct flavor of the best of soap
opera dirt ... (and) eventually the farce gives way to the general folly
of theatre"
- The Necessity of Hank by Val and Noah Kelly
- SF Weekly December 5, 2007 (Molly Rhodes) "If
you have yet to experience RIPE Theatre, you are missing one of the most
theatrically adventurous companies in the area"
- SF Bay Guardian December 5, 2007 (Robert Avila) "The jarring design and quirky humor throughout nonetheless lead
to an anxious, slow-dawning poignancy"
- Attrition by Marilee Talkington
- Jeffrey R. Smith October 19, 2007 "Rarely does
one experience the intensity of such a tightly integrated play: it braids
sight and sound and script into a high tension steel cable that tugs the
audience through a gauntlet of emotions"
- SF Bay Times October 18, 2007 (Albert Goodwyn )"A wrenching insight
into the lives of some characters we probably do not know, but might like
to"
- SF Chronicle October 11, 2007 (Reyhan Harmanci)
- 2007 San Francisco Fringe
Festival
- SF Chronicle September 8, 2007 (Reyhan Harmanci) "As every show's
warm response from the audience indicated, they're pleased by the effort"
- Naught But Pirates by Sean Owens
- SF Weekly June 20, 2007 (Chloe Veltman) "With his salty one-man
show titillatingly titled Naught but Pirates, San Francisco's very own
captain of theatrical camp, Sean Owens, explores the murky line separating
truth from fiction in the great debate about seafarers' sexuality"
- San Francisco Chronicle June 19, 2007 (Robert Hurwitt) "Ahoy -- a pirate's
tale in triplicate ... a clever, compact, three-character pirate yarn told
by an engaging chameleon"
- FRIGID New York March 27, 2007 (Morgan Lindsay Tachco) Naught But Pirates
wins Audience CHOICE Award ... "Intelligent, thought-provoking,
intriguing theater. Wonderfully written and acted."
- nytheatre.com March 9, 2007 (J. Jordan) "Extremely well written and
superbly acted ... Owens's pirate is charming and refined, despite advising
us that he recently bit off someone's ear"
- Broadway.com February 8, 2007 "FRIGID New York will present the
world premiere of Sean Owens' Naught But Pirates, a solo swish-and-swashbuckling
adventure, with musical score by Don Seaver"
- Jump! Theatre's Springboard
Showcase
- SF Weekly May 30, 2007 (Michael Leaverton) "Jump! simply deals
with the thorny issues head on"
- Crystal Daze by Deborah Eubanks
- SF Chronicle May 1, 2007 (Robert Hurwitt) "A daringly honest, partly
autobiographical effort, earnestly and engagingly performed and laced with
passages of gripping intensity"
- SF Bay Times May 3, 2007 (Adele Chavez) "Superbly written and unsparingly
emotional, the play shows you true love and true pain as the bonds between
mother and daughter are strained — but never to breaking point —
by the seduction of Crystal Meth"
- SF Bay Guardian April 25, 2007 (Nicole Gluckstern) "A commitment to
shows authored, directed, and performed by women"
- North Bay Bohemian May10, 2007 (Patricia Lynn Henley) "Written from the
heart-rending perspective of two mothers whose daughters have been seduced
by the character of Crystal Meth"
- Sassy & Seductive a
diva cabaret
- SF Weekly May 2, 2007 (Nathaniel Eaton) "The true star of the
show, though, is first-time lyricist Mia Paschal ..."
- Woyzeck by Georg Buchner
- SF Chronicle March 17, 2007 (Robert Hurwitt) "Riveting in Adriana
Baer's visually stunning and inventive Cutting Ball Theater staging of
a vital new translation by Rob Melrose"
- Oakland Tribune March 22, 2007 (Chad Jones) "Rob Melrose has given
the text an accessible new translation, and director Adriana Baer helps
focus Buchner's manic story with a beautifully designed and sturdily performed
production"
- Hardly Breathing by Deborah Wade
- San Francisco Tribune March 21, 2007 (Mario Eschevarria) "Esta suculenta
producción esta magníficamente dirigida por Noah Kelly y
ha sido escrita por el genio desviado y creativo de Deborah Wade; hay que
tener mucha imaginación para escribir una locura tan divertida"
- SF Bay Times March 15, 2007 (Linda Ayres Frederick) "Hardly
Breathing makes for a light-hearted but well crafted piece of theatre
with its wry wit and some very cleverly written lines to enjoy"
- SF Bay Guardian March 14, 2007 (Robert Avila) "Nicely madcap ... noir-tinged
romantic comedy"
- Chemical Imbalance by Lauren Wilson
- SF Bay Guardian March 21, 2007 (Robert Avila) "Director Matthew Graham
Smith, a Dell'Arte Company core member, and his sharp cast mix some potent
concoctions"
- SF Bay Times March 15, 2007 (Albert Goodwyn) "The humor is non-stop
... spooky, blood-spattered horror with broad comedy ... a Victorian morality
play with all the mannered excesses of British farce"
- SF Weekly March 8, 2007 (Nirmala Nataraj) "Director
David Robertson and playwright Lauren Wilson spit-shine their reputation
for farcical kitchen-sink melodrama and Grand Guignol antics with their
cast of imbred dandies, nested references to Victorian-era repression,
and arch commentary on a fallen empire"
- Serve by Expiration by Sang S. Kim
- SF Bay Guardian January 31, 2007 (Nicole Gluckstern) "Hard-boiled
serial drama, space-age musical, Greek tragedy ... boisterous good humor
and a sly touch of literary acumen"
- 365 Plays/365 Days by Suzan-Lori Parks
- SF Weekly
January 3, 2007 (Chloe Veltman) "The combination of Parks' imprimatur
and the careening imaginations of the groups involved inspires confidence
and hope"
- FRIGID Festival
- BroadwayWorld.com December 9, 2006 "EXIT Theatre,
San Francisco's downtown indie home for new and alternative performance,
is partnering with New York's Horse Trade Theater to produce a 12-day indie
theatre festival in three venues in downtown Manhattan."
- super:anti:reluctant by mugwumpin
- SF Weekly December 6, 2006 (Nathaniel Eaton) "Like an abstract
expressionist painting"
- www.metblogs.com (Mark Pritchard) November 9, 2006 "On Wednesday morning
I sat down to talk with Denmo Ibrahim and Christopher White, two of the
three co-founders of mugwumpin, to talk about their play and their process
..."
- Strip World! by Rey Carolino
- SF Weekly December 13, 2006 (Molly Rhodes) "Yeah,
so, where's the stripping?"
- 2006 San Francisco Fringe
Festival
- San Francisco Chronicle Sunday
Datebook September
3, 2006 (Sam Hurwitt) "Fringe Festival Rocks and Rolls"
- SF Weekly September 13, 2006 "One of
the most relaxing, fun, and cheap theater experiences around"
- SF Fringe Festival (Chloe Veltman)
- The Secret Ruths of Island
House (Chloe Veltman)
- Flamenco con Fusion (Chloe Veltman)
- 21/One (Nathaniel Eaton)
- The Neon Man and Me (Nathaniel Eaton)
- Woof, Daddy (Nathaniel Eaton)
- Another Ugly Duckling Tale (Frank Wortham)
- The Thrilling Adventures
of Elvis in Space - 2- Elvis Rex (Frank Wortham)
- Waiting for Bordeaux (Frank Wortham)
- San Francisco Bay Guardian September 13, 2006 (Robert Avila) "That 12-day carnival
of the theater world gleefully unimpeded by judges' panels, censors' boards,
or the general plague of good taste"
- Babylon Heights by Irvine Welsh and Dean Cavanagh
- Financial Times June 14, 2006 (Chloe Veltman) "Babylon Heights
may be about the mistreatment of little people on the Oz film set, but
it is equally about mistreatment of 'little people' in a bullying, 'big
people' centric world"
- SF Weekly June 28, 2006 (Chloe Veltman) "The play's handling
of its central theme — the little person's struggle in a big person's
world — resonates at several levels"
- SF Bay Guardian June 21, 2006 (Robert Avila) "Celebrated
novelist Irvine Welsh (Trainspotting) and screenwriter Dean Cavanagh's
ribald new stage comedy"
- Last of the Red-Hot Dadas
by Kerry Reid
- Village Voice June 14, 2006 (Soloski) "Solo
performer Christina Augello resurrects this “Mama of the American
Dadaist movement"
Chicago Sun Times (August 22, 2003) Preview
article for Rhino
- Chicago Daily Herald (August 2003) Preview article for Rhino Fest which will include
Last of the Red-Hot Dadas.
- Scotsman (August 16, 2003) "This is a powerfully emotional performance with a force that will
leave you drained; all the grief, passion, derision, rage, and love that
imbued Elsa’s life is transferred to the audience and it’s impossible
not to be utterly transfixed."
- edinburgh-festivals.com audience review (Doug) August 13, 2003 "5 Stars ... Hilarious,
scabrous, poetic and wise. Yet there is a tragic emotional honesty behind
it all - the story of a true original and a life lived passionately and
for keeps."
- one4review.com Scotland August 2003 "Please take my advise and see this
show Christina Augello gets deeply into character and performs a visual
experience not to be missed."
- The List Scotland August 2003 (Andrea Harkin) "Augello's performance
is virtually faultless"
- The Herald Scotland August 19, 2003 (Louisa McEwan)
- Three Week e-Daily Scotland August 5, 2003 "Christina Augello passionately brings the historical figure to
life and manages to comment on American greed, the myth of female sexual
innocence, and the Baroness' painful childhood while breathing life into
a host of puppets and performing a found poetry-cum-urination piece that
would make any true-blue Dadaist proud."
- The List, Scotland July 31, 2003 "Talking to Augello, it becomes
clear that she has developed a bond with Elsa that goes beyond simple theatrical
production"
- Winnipeg CBC July 23, 2003 (Linda Harlos) "Both (Baroness Elsa and Christina Augello) have chosen the "freedom
of passion", tell the unvarnished truth ("the only thing worth
living for"), declining to shut up for the world's convenience, and
want to live in a world where they're honoured for their true selves. Is
that too much to ask?"
- Audience Review on CBC July 19, 2003 (joannetta) "Strong,
fascinating, confident
- I loved this play's human-ness and visual beauty.
Elsa's conversation is such a gift to be a part of."
- Audience Review on CBC July 17, 2003 (Adele Kory) "creative story - line, incredible delivery
and unique costume and set....definitely a 5 star performance"
- Toronto Eye July 10, 2003 (Holland Gidney) "art
come to life onstage"
- Montreal Mirror June 19, 2003 (Amy German) "charismatic and professional performance"
- SF Chronicle August 1, 2002 (James Sullivan) "A
big achievement in a little package"
- Backstage West June 13, 2002 (Jean Schiffman) "Christina Augello brought
a cheery bitterness, flamboyance, and humor to the role under John Warren's
imaginative direction."
- The Death of the Last Black
Man in the Whole Entire World by Suzan-Lori Parks
- SF Chronicle June 6, 2006 (Robert Hurwitt) "A
smart, funny, densely allusive and strangely moving, 70-minute, non-linear
exploration of African American history, rife with provocative cultural
and literary references."
- SF Weekly June 14, 2006 (Chloe Veltman) "Like
a Dizzy Gillespie trumpet solo or Billie Holiday singing "Strange
Fruit," the show emits an irrepressible energy that can't be quashed"
- SF Bay Guardian June 14, 2006 (Robert Avila) "Rob
Melrose's beautifully pitched staging of Parks's meditation on history
and the African American experience is an altogether impressive achievement"
- SF Weekly June 7, 2006 (Nirmala Nataraj) "Pulitzer
Prize–winning playwright Suzan-Lori Parks has a distinctive patois,
flavored with soul food and libations from a stream of consciousness"
- Oakland Tribune June 6, 2006 (Chad Jones)
- SF Bay Times June 2006 (Linda Ayres-Frederick
- SF Weekly Best of San Francisco
2006 Awards May 17, 2006
- Best Producer Christina Augello "This formidable local theater impresario has been largely
responsible for rescuing San Francisco theater-goers from the clutches
of pointless touring Broadway shows and stolid repertory fare"
- Best Intrepreter of Theatrical
Chestnuts Cutting Ball Theater "The
daredevil approach to standards is what places it a cut above the rest"
- Best Comic Playwright Sean
Owens "With a highly developed
sense of the silly and a consummate feeling for dramatic structure and
comic delay, Owens has rightly won adoration among Bay Area audiences as
a playwright for the past 15 years"
- DIVAfest 2006
- San Francisco Chronicle April 26, 2006 (Rob Hurwitt) "Anything
that produces work of this quality is worth the effort"
- San Francisco Weekly May 3, 2006 (Chloe Veltman) "Upon
closer analysis, DIVAfest seems to be pushing for an alternative definition
of diva."
- SF Bay Guardian April 26, 2006 (Karen McKevitt) "(Guns
and Ammunition) akin to listening to fingernails on a chalkboard
... a testament to McKereghan's writing and Carol Flanagan's spot-on performance"
"(Beauty and the Breast) charming and heartbreaking
... an artistic leap for the company"
- SF Bay Times April 27, 2006 (Laurie Bushman)
"A completely enjoyable experience"
- Beauty and the Breast by Liebe Wetzel
- Marin Independent Journal April 18, 2006 (Elsa Knox Butler) "A
play doesn't happen on stage, it happens in your imagination. It happens
when you connect the material to what you see"
- San Francisco Bay Times April 27, 2006 (Laurie Bushman) "An
amazing piece of theater."
- Cool
As Hell Theatre podcast (Michael Rice)
- Moky's Life 101 by Moky Huynh
- SF Weekly April 12, 2006 (Nathaniel Eaton) "Moky's
got a lot to say, and is at times inspiring, abrasive, and, as when he
performs a spot-on Michael Jackson dance to a Tupac Shakur song, one of
a kind"
- Love's Labor's Lost by William Shakespeare
- SF Bay Guardian March 29, 2006 (Robert Avila) "Raw
energy and a sexy, sassy humor backed by ample doses of alt-rock–driven
dance fever"
- Arrhythmica by Ripe Theatre Company
- SF Bay Times March 16, 2006 (Linda Ayres-Frederick) "Wonderfully
offbeat sense of humor used in the ordinary and extraordinary situations"
- flavorpill.com March 28, 2006 (Jonathan Knapp) "The
closing number — ghouls dancing to Matmos — demonstrates what
the RIPE Theatre's actors/writers do best: silliness"
- 100 Years of Sex Acts by Eastenders Repertory Company
- SF Bay Guardian March 8, 2006 (Robert Avila) "Eastenders Repertory
Company has made one-act fests their subspecialty, presenting ambitious
programs annually under specific overarching themes. This year's topic,
sex, sustains itself over three night's worth of brief but passionate work
by the likes of Albee, Caryl Churchill, Lorca, and Strindberg."
- SF Chronicle March 2006 (Robert Hurwitt) "Three
programs of intriguing, seldom-seen one-acts by six important playwrights"
- Uncle Buzzy's Home Town
Theater Show
- SF Tribune February 2006 (Mario A. Echevarria translated by Chris Schlesinger)
"An amusing series of sketches about a very funny young man
who travels from the country to the big city to look for a better life"
- SF Tribune (in Spanish) February 2006 (Mario A. Echevarria) "Uncle Buzzy es
una divertida serie de sketches sumamente divertidos sobre un joven que
viajo del campo a la gran ciudad para buscar mejoras en su vida"
- The Maids by Jean Genet
- SF Bay Times January 26, 2006 (Ed Brownson) "A
marvelous production"
- SF Bay Guardian February 8, 2006 (Robert Avila) "Cutting
Ball Theater's crisp, elegantly staged production affirms its still-compelling
style and darkly poetic force. And Adriana Baer's taut, intelligent direction
makes the most of playwright Martin Crimp's bracing new translation."
- SF Weekly February 8, 2006 (Nathaniel Eaton) "Director Adriana
Baer packages the tale adeptly in this sexy and provoking production"
- Nightgown, Symphony by mugwumpin
- SF Weekly February 8, 2006 (Chloe Veltman) "Symphony
mixes mime, commedia dell'arte-inspired humor, object theater, and live
piano and accordion music to tell the story of an archetypal couple caught
up in an endless cycle of breaking up and making up. Nightgown ... revolves
around the relationship between a musician, his girlfriend, and his phantom
muse, and is adapted from a 17th-century Chinese ghost story"
- Odd by Nature by Sean Owens
- SF Bay Times January 26, 2006 (Tom Kelly) "A
kooky and spooky sense of humor that never ceases to surprise and entertain.
It’s certifiably a mischievously merry and occasionally macabre night
of theatre."
- SF Weekly February 1, 2006 (Chloe Veltman)
"An entertaining tasting menu of sweet and savory short plays
... Chef Owens' evening of short plays brings to mind the
experience of supping at Gary Danko or the French Laundry -- and at a fraction
of the calories and price"
- SF Bay Guardian February 1, 2006 (Robert Avila) "A
keenly parodical observer of creation, especially in its more heightened
representations on stage, screen, and song"
- Porcelain by Chay Yew
- SF Bay Guardian November 22, 2005 (Robert Avila) "An
elegantly designed, smoothly executed production"
- The False Servant by Pierre Marivaux
- SF Weekly December 14, 2005 (Chloe Veltman) "A
challenging, confusing gender-bender of a play strikes a brilliant note"
- SF Bay Guardian November 16, 2005 (Robert Avila) "In
Abydos Theater's razor sharp production of Pierre Marivaux's classic 18th-century
French comedy, love, gender, and sexual desire prove as fluid as money
– and all four are bound up together in a continual, erotically charged
dance that confirms the observation: 'In this life, we are all servants
of someone or another.'"
- Marin Independent Journal November 8, 2005 (Charles Brousse) "No
false notes in Marivaux's 'Servant'"
- Critic's Circle November 2005 (Jeffrey R. Smith) "Abydos Theater has
achieved an artistic refinement rarely evidenced in San Francisco theaters"
- There Be Monsters! by Dan Carbone
- SF Weekly November 2, 2005 (Chloe Veltman) "A
cross between Dr. Seuss and Freddy Krueger -- with a touch of Lewis Carroll
thrown in for good measure -- Carbone is a big, bald man-child exorcising
inner demons with a goofy grin and an old-fashioned trunk."
- SF Bay Guardian October 26, 2005 (Robert Avila) "Carbone's unchained subconscious delivers
up these fondled toys and decorative items with an undiminished relish,
like a do-it-yourself pagan's mystical communion with the hall closet,
or a stylized version of some OCD-driven creativity spied in the studio
apartment across the street"
- SFist October 14, 2005 (Karen McKevitt) "You
think you're a freak? You think you've seen some rad, edgy theater? Then
you haven't seen a Carbone show."
- 2005 San Francisco Bay Guardian
Goldie Award for Theater to Cutting Ball Theater
- SF Bay Guardian November 9, 2005 (Robert Avila)"Daring, idiosyncratic, and ambitious, the company steadily grew
from a tiny ad hoc Fringe Festival production in 1997 into today's 21-member
ensemble, a group capable of regularly presenting local and world premieres
by an international assortment of established and up-and-coming playwrights"
- Risk Is This by Cutting Ball Theatre
- SFist
October 14, 2005 (Karen McKevitt) "Thank
god for Cutting Ball, which brings us truly experimental new plays instead
of those with New York's bland stamp of approval"
- Manumission by Martha Soukup
- SF Bay Guardian October 12, 2005 "Strong performances by the entire Cassandra's
Call Productions team"
- 2005 San Francisco Fringe
Festival
- talkingbroadway.com August 2, 2005 "Big Business
and U.S. Economy Get Jaundiced Eye at 14th Annual S.F. Fringe Theatre Festival.
Among topics at 12-Day Festival are Evil Conglomerates, Manipulated Consumers,
and the Return of a 1930s-like Depression"
- Slow Flying Bird by Christine Evans
- SF Chronicle July 30, 2005 (Sam Hurwitt) "much of the play exists in a bizarre, dreamlike realm thick with
metaphor"
- SF Bay Guardian August 3, 2005 (Robert Avila) "When the world becomes
too unreal to be believed, surrealism can be the best mirror for capturing
it. Crowded Fire knows this as well as any theater company"
- E.O. 9066 by Liebe Wetzel
- SF Weekly August 24, 2005 (Chloe Veltman)
- EXIT Theatre: Best Offbeat
Theater
- SF Weekly Best of the Bay 2005 May 11, 2005 "A sanctuary
for small-scale, big-attitude San Francisco stagecraft since 1983"
- Boxcar Bertha by Kerry Reid in collaboration with Christina Augello and John
Warren
- SF Weekly July 20, 2005 (Chloe Veltman) "In
this understated, thoughtful little show (which would work just as well
performed on a street corner, a ship's deck, or, indeed, in a railroad
car), Augello and Walroth do more than tell Bertha's bittersweet story
-- they evoke an entire era."
- CBC Canada July 15, 2004 (Cindy Burke) "Hop on board "Boxcar
Bertha". It's a great ride."
- Winnipeg Free Press July 15, 2004 (Anna Lazowski ) "Christina Augello stars in this story based on the life of 1930s
hobo ... Jack "Applejack" Walroth lends authenticity with live
musical accompaniment"
- Uptown Magazine July 22, 2004
- Audience Review on CBC website (Nick Ternette)
- Winnipeg Fringe Audience Reviews:
- "BOXCAR BERTHA with Christina Augello is marvellous"(joannetta)
- "Solidarity Forever ! Best monologue I've
seen at this year's Fringe. Extremely enjoyable journey into America's
depression. Well Done." (Uncle Sparky)
- "BOXCAR BERTHA! Wonderfully told stories.
Good theatre!" (alin)
- "A well crafted, old story for our times" (lea)
- "Though preaching to the converted and unlikely
to convince anyone in the audience who's not already a confirmed Wobblie,
"Boxcar Bertha" is a worthy piece of labour/Dirty Thirties American
history. It might educate those who don't know her story.
- Good actress - believable. And the background acoustic
guitar from John Warren is absolutely great! Sit on the far left side (from
the audience's perspective) to sit near him, so you can hear him well,
as he has no mike.Recommended." (barb
from Ottawa)
- SF Bay Guardian May 26, 2004 (Robert Avila) "(Bertha's) tour of the
country has her working variously as a grifter, prostitute, and labor agitator,
all the while balancing her indignation on behalf of the oppressed and
her prescriptions for a better world with a strong sense of the humor and
beauty in human relations"
- University of Manitoba FM 101.5 (Justin Olynyk) July 2004 "A
really interesting story ... it presents a very complete picture of Bertha"
- Macbeth
- SF Weekly June 1, 2005 (Chloe Veltman) "This
Macbeth is intriguing, intellectually involving, visually imaginative,
and -- best of all -- funny."
- SF Bay Guardian June 1, 2005
(Robert Avila) "Physically compact, visually striking production
of Shakespeare's tragedy ... casts a suitably spooky spell for a play that's
half ghost story and half waking mightmare ... (and) climbs to a potent
crescendo."
- SF Chronicle May 2005 (Robert Hurwitt) "
A bold, innovative approach in a slightly cut, intriguingly rearranged,
inventively staged version of Shakespeare's great tragedy"
- SF Weekly May 11, 2005 (Karen Macklin) "As heinous as they are
as murderers," Melrose says, "it's probably the most successful
marriage in Shakespeare."
- Thanatics -- A Rock Opera
- SF Weekly June 22, 2005 (Chloe Veltman)
- Diane di Prima
- SF Bay Guardian April 27, 2005 (Robert Avila) "A leading voice of
the still-beating beat generation, and one of the only women associated
with it, Diane di Prima will read from her epic poem Loba"
- The Mandala Olive Project
- SF Chronicle April 26, 2005 (Robert Hurwitt) "Intriguing,
raw, inventive and promising"
- SF Bay Guardian April 27, 2005 (Robert Avila)
- Ambivalent Geneses
- SF Bay Guardian April 27, 2005 (Anna Mantzaris)
- EXIT Theatre
- Beyond Chron April 11, 2005 (Eric Schaefer) "Since
1983 the EXIT Theater, now located at 156 Eddy street and 277 Taylor street,
has served up some of the freshest and most original shows in a town crowded
with great theater"
- One Big Lie by Liz Duffy Adams
- SF Chronicle (Robert Hurwitt) "A savvy,
tantalizing, funny, at times frustrating and for the most part beguiling
dance with the problem of evil -- metaphysical and social"
- SF Bay Guardian April 6,
2005 (Robert Avila) "One Big Lie is a deadly serious
frolic with a wary eye on the immediate future"
- Oakland Tribune March 22, 2005 (Chad Jones) "'One Big Lie' reaffirms
that Adams is a voice meant for our time."
- SF Weekly
March 16, 2005 (Karen Macklin) "The project may be Crowded Fire's
most ambitious work to date (it's funded in part by the NEA and Zellerbach).
But, says Novick, it's 'squarely in the heart of what we do: work that's
experimental and new and stretching the boundaries of the form.'"
- SF Chronicle March 13, 2005 (Sam Hurwitt) "I
just think the least you can ask for from art is that it be at least as
interesting as life."
- Magic @ the EXIT ... (cafe)
by Christian Cagigel
- SF Weekly March 23, 2005 (Chloe Veltman) "Cagigel's brand of magic is the kind
you would have seen at Victorian fairgrounds 150 years ago ... transformed
into intimate specacle via Chagigel's wry sense of humor, ability to work
the crowd, and considerable conjuring skills."
- American Irish by Ken Slattery
- SF Weekly March 16, 2005 (Chloe Veltman) "Full
of funny and touching moments"
- SF Bay Guardian March 16, 2005 (Anna Mantaris)
- Family Jewels - the Making
of Veronica Klaus
- SF Bay Guardian March 2005 (Robert Avila) "Veronica Klaus puts the
confident, velvety voice for which she is deservedly known to the story
of her exceptional life"
- SF Weekly February 23, 2005 (Nirmala Nataraj) "The best gender-bending
live shows since David Bowie donned mascara"
- No Exit by Jean-Paul Sartre
- SF Bay Guardian February 2, 2005 "Simple, elegant, and brutal: three
words that also apply to Cutting Ball Theater's excellent production of
Sartre's 1944 drama"
- SF Weekly February 2, 2005 "The Cutting
Ball's production, with its elegance and force, mines deep into the soul
of Sartre's text, holding up a mirror to human nature"
- SF
Weekly Article on Market Street "The Exit Theatre has built
a complex of little stages over the last 20 years that has single-handedly
brightened sections of the Tenderloin, near Market and Cyril Magnin"
- Come Fly With Me Nude by Diane Karagienakos and Todd Pickering
- SF Bay Guardian December 8, 2004 "Part autobiography, part meta-theater,
and part cartoon cabaret, Come Fly with Me Nude is a loosely structured
love song to bedroom rock stars and bathroom Broadway divas everywhere."
- SF Weekly December 1, 2004 "Karagienakos and Pickering make
cappuccino-sipping, all-black-wearing, name-dropping pretensions downright
endearing"
- Cicada
by Sarah McKereghan
- SF Bay Guardian November 10, 2004 (Robert Avila) "Ripe Theater's involving
and witty drama (written by cofounder McKereghan) is an inventive, eerily
prescient reflection on opposition to a mad world order. Featuring an excellent
cast - buoyed by Noah Kelly's playful, always intelligent direction - its
almost sci-fi ambience gains cathartic intensity in the recent election's
miserable aftermath, further heightening its themes of struggle and renewal."
- SF Bay Guardian December 22, 2004 (Year end review of
Bay Area Theater by Robert Avila)
- 69Stories: One Pervert's
Tale and No Good Deed by Mollena Williams
- SF Weekly November 3, 2004 (Michael Scott Moore) "Both of Mollena
Williams' sexy shows are great fun"
- SF Chronicle October 19, 2004 (Robert Hurwitt) "The versatile Williams
graces her strong presence and vivid acting skills with an engagingly warm
persona"
- SF Bay Guardian October 27, 2004 (Robert Avila) "Williams
ensures her seductive lesson in erotic play draws its real force from the
fact that we're never allowed to lose sight of the simple human heart at
the center of the outré sexual adventurer"
- Avant GardArma!
- SF Chronicle October 19, 2004 (Robert Hurwitt) "Five shorts spell
one night to remember"
- San Francisco Fringe Festival
2004
- SF Chronicle September 14, 2004 (Robert Hurwitt)
"My day on the Fringe consisted of one pleasant surprise after
another"
- SF Bay Guardian September 15, 2004 (Robert Avila) "The 13th annual
San Francisco Fringe Festival amounts to a feast that's neither fish nor
fowl but has plenty of bananas, eggs, chocolate, and greasepaint to go
around"
- Marin Independent Journal September 12, 2004 (Pat Polito)
- SF Bay Guardian September 15, 2004 (Lisa Shalson)
- SF Weekly September 15, 2004 (Michael Scott Moore)
- Contra Costa Times September 14, 2004 (Pat Craig)
- Becca and Heidi by Sharon Eberhardt
- SF Bay Guardian July 21, 2004 (Chloe Veltman) "Lindsay
Anderson expertly milks the bathos at the heart of Eberhardt's play"
- Contra Costa Times July 24, 2004 "An astonishing
work of imagination"
- SF Weekly July 14, 2004 (Karen Macklin) "Local playwright Sharon
Eberhardt's new one-woman play about split personality and morality"
- A multitude of new plays
awaits visiting critics
- SF Chronicle June 1, 2004 (Robert Hurwitt)
- DIVAfest 2004
- SF Chronicle May 24, 2004 (Robert Hurwitt)
- SF Bay Guardian 8 Days A Week May 19, 2004 (Robert Avila)
- digitalcity.com Featured Pick May 20, 2004 (Arne Johnson)
- Oakland Tribune May 21, 2004 (Chad Jones)
- SF Bay Guardian May 26, 2004 (Robert Avila)
- Cabaret Rebel with Beth Wilmurt and music by David Malloy and David Babich
- SF Weekly May 5, 2005 (Michael Scott Moore) "A
shamelessly earnest and sexy revival of American standards"
- SF Bay Guardian April 28, 2004 (Robert Avila) "Beth Wilmurt's outré
cabaret, a reprise of the widely hailed performance piece she conceived
for EXIT Theatre's 2003 DIVAfest"
- Valparaiso by Don DeLillo
- SF Weekly April 28, 2004 (Michael Scott Moore) "The effect is
eerie; your skin will crawl. FoolsFury has mounted a solid production with
fancy trimmings"
- SF Bay Guardian April 28, 2004 (Robert Avila) "No American writer
limns the metaphysics of this runaway technological age quite like the
author of White Noise and Underworld"
- Slaughter City by Naomi Wallace
- Oakland Tribune April 13, 2004 (Chad Jones) "A powerful, unsettling
experience. In one messy package, the play manages to be a tirade against
worker injustice and an erotic ode to the abused bodies of workers everywhere"
- SF Bay Guardian April 21, 2004 (Robert Avila) "The play's two acts
... traverse a deeply psychological terrain of pent-up desires and blurred
racial, sexual, and class boundaries, all against the shadowy backdrop
of U.S. labor history"
- SF Chronicle April 12, 2004 (Robert Hurwitt) "Magnetic,
compelling and unceasingly provocative in Rebecca Novick's strong Crowded
Fire production"
- Oakland Tribune April 12, 2004 (Chad Jones) "A
powerful, unsettling experience"
- SF Weekly April 28, 2004 (Michael Scott Moore)
"Everything from race to women's rights to the politics of sex
in one grandiose sweep"
- SF Weekly April 7, 2004 (Sunny Andersen) "With
a slightly surreal bent, Wallace's play examines a complex tangle of issues
-- gender, race, politics, and the human condition -- while still maintaining
tinges of humor and poetry"
- SF Arts Monthly April 2004 (Jean Schiffman) "This
small company knows how to clarify difficult contemporary material, making
particularly creative use of expressive stage movement"
- Sandwich with Banana, Bag & Bodice
- SF Chronicle March 23, 2004 (Robert Hurwitt) "'Sandwich' is a casually
madcap creation that isn't just funny and thought-provoking but funny about
its thoughts and need to provoke. It's deceptively crisp, remarkably tight,
cagily convoluted and curiously refreshing"
- SF Weekly April 7, 2004 (Silke Tudor) "Grotesque,
whimsical, and bone-achingly funny"
- SF Bay Guardian March 31, 2004 (Robert Avila) "A
darkly absurd and satisfying send-up of the so-far futile attempt to declaw
human nature"
- Underneath the Lintel by Glen Berger
- SF Weekly March 31, 2004 (Michael Scott Moore)
"The unexpected sublime ... a marvelously odd inquiry into the
existence of God"
- SF Bay Guardian March 24, 2004 (Robert Avila) "Berger's
light treatment and euphoric ending belie a darker theme"
- Underbelly Diaries by Aaron Berg
- Bay Area Reporter March 18, 2004 (Adam Sandel) "A bracingly candid and
frequently hilarious one-man show"
- SF Examiner March 16, 2003 (Bill Picture) "It's
obvious just minutes into Berg's show that his best asset isn't his ripped
body, it's his ability to tell a story ... Anyone with a slightly twisted
or "off" sense of humor would be crazy not to take him up on
the offer."
- SF Bay Guardian March 24, 2004 (Lara Shalson) "Berg
is a dynamic performer and a great storyteller"
- SF Weekly March 24, 2004 (Michael Scott Moore)
"It may be the most frank and disgusting show on a local stage
this season"
- A Night Among the Stars
- SF Bay Guardian March 24, 2004 (Cheryl Eddy) "An
active volcano for San Francisco's alternative performance scene"
- An Impersonation of Angels
or the Enigma of Desire (Impressions of the Life of Salvador Dali) by Dan Carbone
- SF Weekly March 10, 2004 (Michael Scott Moore)
"flashes of pure brilliance"
- SF Weekly February 18, 2004 (Hiya Swanhuyser)
"local playwright Dan Carbone's latest foray onto the stage"
- Eye by
Jay Levin
- SF Weekly
February 11, 2004
- Speaking in Tongues by Andrew Bovell
- SF Chronicle January 27, 2004 "an ever more intricately intertwined
tale of four couples disintegrating in a web of infidelities, miscommunication,
therapy and possible murder "
- Cinghiale! by Emilie Miller
- SF Bay Guardian January 21, 2004 (Robert Avila) "a
bold, sassy, and dangerous delicacy"
- SF Chronicle January 27, 2004 (Robert Hurwitt) "Appealing
and talented performer"
- Strange Love by the Perry Alley Puppet Theatre
- SF Chronicle January 27, 2004 (Robert Hurwitt) "Sweet
but precious ... cloyingly didactic"
- Uncle Dickie's Wicked Little
Christmas Show by Three Wise Monkeys
- SF Weekly December 17, 2003 "subversively giggly"
- SF Bay Guardian December 10, 2003 (Robert Avila) "evening of subversive seasonal one-acts"
- SF Weekly December 10, 2003 (Michael Scott Moore) "three-play variety show on twisted Christmas themes"
- Cinghiale! by Emilie Miller
- Press Release
- Stretch Marks by the Drama Mamas
- SF Bay Guardian November 19, 2003 (Robert Avila) "Light but soulful comedy celebrating
'the joy and the madness of mothering.'"
- Blue Window by Craig Lucas
- SF Bay Guardian October 29, 2003 (Lara Shalson)
- A Bright Room Called Day by Tony Kushner
- SF Bay Guardian (October 8, 2003) " Agnes (Libby O'Connell), ever
the gracious hostess, finds her tongue at last and welcomes Mr. Swetts
(John Craven), the Devil, to her home."
- San Francisco Fringe Festival
2003
- SF Bay Guardian (September 10, 2003) "The Fringe x 12: The venerable festival provided 54 chances to
find beauty, truth, communion, and cheap beer – in 60 minutes or less"
- SF Chronicle (September 6, 2003) "Take a chance"
- SF Weekly (September 10, 2003)
- Best of the Bay
- SF Bay Guardian 2003 (July 30, 2003) "Best Place
to Eat a Cheese Plate While Watching Live Theater"
- SF Weekly 2000 (May 17, 2000) "Best Little
Theater That Could"
- SF Weekly 1999 (May 19, 1999) "Best (3,000
Miles) Off-Broadway Theater"
- Edinburgh Fringe Festival
2003
- Back Stage West August 2003 (Laura Weinert) "Few experiences will challenge your mettle--and pocketbook--more
than a four-week run at the world's largest theatre festival."
- Vomit Talk of Ghosts by Kevin Oakes
- SF Chronicle July 29, 2003 (Robert Hurwitt) "an often intense, funny and provocative wrestle with mortality,
spiritualism and a death wish wrapped in a disturbingly graphic and overheated
depiction of the sexual yearnings of two 14-year-old girls"
- SF Weekly July 30, 2003 (Michael Scott Moore)
- sfgate.com July 2003 (Anna Mantzaris) "dead-on brilliant"
- SF Weekly July 23, 2003 Night & Day Pick
- SF Bay Guardian July 16, 2003 "So profane, so lubricious, and so fundamentally
demented that it's easily one of the most satisfying theatrical evenings
around"
- SF Bay Guardian 8 Days A Week July 9, 2003 (J.H. Tompkins)
"Cutting Ball likes to present edgy, challenging work without
the safety of linear plot"
- 'Maid by
Erik Ehn
- SF Chronicle July 15, 2003 (Robert Hurwitt) "Playfully and beautifully staged by Crowded Fire artistic director
Rebecca Novick, hauntingly accompanied by composer David Rhodes and beguilingly
performed, Ehn's modern fable manages to be wistfully gritty, humorously
sad and, somehow, translucently opaque"
- SF Weekly July 30, 2003 (Michael Scott Moore)
"The title's short for "mermaid," and the show's one
of the most innovative of the summer"
- SF Bay Guardian July 16, 2003 (Robert Avila)"world premiere of Erik Ehn's darkly poetic mermaid fable ... expresses
a set of evocative ideas about change and desire against a backdrop of
humanmade ruin"
- Oakland Tribune July 15, 2003 (Chad Jones)
- Summer Shorts: Crossed Wires
by Isis Arts Collective
- SF Tribune by Mario A. Echevvarria, English translation by Patricia Nell
Warren "a surprising triumph"
- SF Bay Guardian August 6, 2003 (Baghdachi)"an unqualified success"
- Article on small theatre
by Pat Craig
- Contra Costa Times July 13, 2003 "The
best variety is probably offered by the Exit Theatre, a three-stage complex
in the middle of San Francisco's somewhat dicey Tenderloin District. But
inside, you will be able to see what is tickling the fancy of an enormous
variety of playwrights"
- White Bird on a Stick by Sha Sha Higby
- SF Chronicle July 1, 2003 (Robert Hurwitt)
- Silent Movie by Stepanie Abrams, Kinetic Theory Experimental Theatre
- SF Weekly June 18, 2003 (Michael Scott Moore) "a wordless, impeccably cool re-enactment of a '20's-era silent
film ... that manages to be postmodern and even sexy"
- Over Nine Waves by Tim Barsky
- SF Weekly June 25, 2003 (Michael Scott Moore) "his work is one-of-a-kind: The blend of storytelling with beatbox
... is flat-out cool"
- SF Weekly June 18, 2003 "makes audience stop and take notice
... a genre-defying production"
- SF Bay Guardian June 18, 2003 (Cheryl Eddy) "mastermind behind last year's acclaimed solo piece As If in Sleep"
- East Bay Express June 4, 2003 (Lisa Drostova) "Barsky's Over Nine
Waves is not only a new force in theater, but sophisticated, impassioned
storytelling at its best"
- Tincture by Sean Owens
- SF Bay Guardian June 4, 2003 (Chloe Veltman) "A funny and tender exploration of the
widely differing ways people perceive the world around them"
- E.O. 9066 by Lunatique Fantastique
- Oakland Tribune May 29, 2003 (Chad Jones) "Chalk up another amazing adventure
in puppetry for remarkable Liebe Wetzel."
- DIVAfest 2003
- SF Chronicle May 26, 2003 (Robert Hurwitt) "A
mix of good, pretty good and exceptional material."
- Oakland Tribune May 29, 2003 (Chad Jones) "Chalk up another amazing adventure
in puppetry for remarkable Liebe Wetzel."
- SF Bay Guardian May 28, 2003 (Chloe Veltman) "Cabaret Rebel is both defiant of the
traditional seductress-in-black-dress cabaret style and a potent celebration
of intensity, soulfulness, and, ultimately, sex"
- Contra Costa Times May 24, 2003 (Pat Craig) "This (Cabaret Rebel) is
certainly not a show to miss" ... "'Toasted,' a strangely chilling
monologue that is also achingly funny" ... "If these two acts
are any indication of the quality of the Divafest, the Exit Theatre will
be hosting some memorable shows over the next few weeks"
- KTVU.com May 2003
- Libidoff by Dawson Moore
- SF Bay Guardian April 30, 2003 (Chloe Veltman) "The
spunky cast of six manages to pull off a pretty formidable theatrical feat:
a comedy about sex that is as febrile as it is funny"
- SF Chronicle May 6, 2003 (Robert Hurwitt)
- Queer Theory by John Fisher
- SF Chronicle May 6, 2003 (Robert Hurwitt) "Hilarious and incisive
comedy in the story of sexually metamorphosing professors"
- SF Weeky April 23, 2003 (Michael Scott Moore) "A comedy about gender, identity, gender, gender, identity, and
gender identity"
- In the Summer House by Jane Bowles
- SF Bay Guardian (8 Days A Week) April 16, 2002 (Amir
Baghdachi) "A reading of this masterpiece from an unacknowledged
master ... a surreal and sensual drama of familial bonds"
- Never Far From the Tree by Dave Garrett
- sfgate.com April 3, 2003 (Anna Mantaris) "Elegantly tinged with dark humor ... the four actors exhibit near-perfect
timing ... and drive the play to a touching and sentimental finale without
the Hallmark sap"
- in3 instigated
by j.ries
- SF Bay Guardian April 16, 2003 (Chloe Veltman) "A complex and largely abstract counterpoint of jarring and fluid
movement, and spiraling text, music, and color"
- SF Weekly April 9, 2003 (Michael Scott Moore) "Like watching the children of Laurie Anderson come up with some
new ideas"
- SF Bay Guardian March 26, 2003 (Cheryl Eddy) "Fans
of experimental theater now have even more reason to sing the praises of
Exit Theatre"
- A-A-America by Edward Bond
- SF Weekly April 9, 2003 (Michael Scott Moore) "Ford and Jones do more of their excellent work here, and Cassie
Beck adds to it with a strong performance"
- SF Bay Guardian April 2, 2003 (Robert Avila) "Crowded Fire's smart and committed production demands an accounting
of social responsibility."
- Oakland Tribune March 30, 2003 (Chad Jones) "Complex, absorbing work"
- SF Chronicle March 28, 2003 (Rob Hurwitt) "A-A-America! achieves an artful, disquieting topicality
as thought-provoking as it is disturbing."
- SF Weekly March 19, 2003 (Karen Macklin) "This stateside premiere
... is an aggressive exploration of racism."
- Ladies and Gentlemen by Emma Donoghue
- SF Weekly February 19 , 2003 (Karen Macklin)
- SF Bay Guardian February 19, 2003 (Amir Baghdadchi)
- Dreamstealers by Stephen Jacob
- SF Bay Guardian January 22, 2003 (Robert Avila) "Quirky but committed 'science fable.'
Sort of Pinocchio meets Frankenstein meets Doctor Who."
- Working for the Mouse by Trevor Allen
- SF Weekly November 27, 2002 (Michael Scott Moore)
"Strong solo-performer chops and a keen sense of the pathos
underlying the Happiest Place on Earth."
- SF Chronicle December 5, 2002 (James Sullivan)
- SF Examiner December 5, 2002 (Leslie Katz)
- East Bay Express October 30, 2002 (Lisa Drostova)
- Oakland Tribune October 25, 2002 (Chad Jones)
- The Train Play by Liz Duffy
- SF Weekly October 23, 2002 (Michael Scott Moore) "The weight
of ideas loaded onto this train would be enough to derail it if the acting
weren't so good"
- As If In Sleep by Tim Barsky
- SF Weekly
October 23, 2002 (Michael Scott Moore) "the most teeming, inventive,
and good-spirited production in the city right now"
- Snake in the Basement: The
Prosecution of Rev. Bill Pruitt and Brace Yourself
by Liebe Wetzel & Lunatique Fantastique
- SF Bay Guardian October 16, 2002 (Shalson) "quite simply, a lovely
piece of theater"
- SF Bay Guardian May 24, 2000 (Brad Rosenstein) "Superb ... Don't miss this exceptional, intelligent,
singular work"
- Summer Shorts: Days and
Nights by Isis Arts Collective
- sfgate.com (Anna Mantzaris) "Forget the beach, wrap yourself
in your warmest scarf and head out for a evening of summertime entertainment"
- Augustine (Big Hysteria)
by Anna Furse
- SF Weekly July 24, 2002 (Karen Macklin) "The woman-centered Shee company's debut production hits the bull's-eye"
- 611 $upreme by E. Hunter Spreen
- SF Weekly June 26, 2002 (Karen Macklin) "A
passionate, timely play about the fine line between activism and terrorism"
- Top Girls by Caryl Churchill
- SF Bay Guardian June 12, 2002 (Brad Rosenstein) "Churchill still has few peers among dramatists, and once again
she finds a happy home at Crowded Fire"
- sfgate.com June 2002 (Anna Mantzaris) "Stellar
acting and impeccable timing"
- SF Weekly June 19, 2002 "a portrait of a changing society"
- SF Weekly Night & Day (May 29, 2002)
Last of the Red-Hot Dadas
by Kerry Reid
- SF Chronicle August 1, 2002 (James Sullivan) "A
big achievement in a little package"
- Backstage West June 13, 2002 (Jean Schiffman) "Christina Augello brought
a cheery bitterness, flamboyance, and humor to the role under John Warren's
imaginative direction."
- DIVAfest a festival of theater with a female pursuasion
- Oakland Tribune May 24, 2002 (Chad Jones) "Daring mix of styles, subjects
makes Divafest divine"
- SF Weekly May 15, 2002 (Lisa Hom) "Divine Divas"
- SF Bay Guardian May 15, 2002 (Shalson) "Bring your opera glasses and
prepare to have your concepts about womanhood overhauled."
- SF Independent May 14, 2002 "ranging from vamps to cheerleaders to
a Dada baroness"
- Michelangelo Did This? by Howard Hain
- SF Examiner April 17, 2002 (Leslie Katz) "Michelangelo the personality delivers his insights with panache.
He's
almost as good a talker as he was painter and sculptor."
- Next In Line by John Warren
- SF Bay Guardian April 3, 2002 (Robert Avila) "savvy
and contagious comedy-drama"
- SF Weekly April 10, 2002 (Michael Scott Moore)
"a satire about the everyday rot in the electoral process"
- SF Examiner April 2002 (Chad Jones) "goes behind scenes with portrayal of
local politics"
- Frontiers April 2002 (Erin Blackwell
- I am Hamlet by Mark Jackson, Art Street Theatre
- SF Bay Guardian March 12, 2002 (Robert Avila) "
a tour de force"
- sfgate.com March 2002 (Anna Mantzaris) "juicy details and insight Shakespearean
scholars spend years speculating about"
- SF Weekly March 12, 2002 "The company, which debuted at the S.F. Fringe
Festival in 1995, excels at creating meta-theater pieces"
- SF Examiner April 9, 2002
(Rob Hughes) "To thine own self he's true"
- SF Weekly April 3, 2002 (Michael Scott Moore)
- The Magnificent (Ass) Show
by Maurissa Afanador
- SF Examiner March 12, 2002 (Leslie Katz) "A
sprite with the mouth of a truck driver ... She's a hoot, as are her compatriots."
- sfgate.com (Anna Mantzaris) "The pace
is fast and the laughs keep on coming, thanks to a group of talented comedic
actors."
- Smoker by Michael Mace
- sfgate.com January 23, 2002 (Beth Lisick)
"as entertaining
as a rowdy night at the tavern, with just enough hangover to let you know
you've been stung."
- SF Bay Guardian January 23, 2002 (Robert Avila) "Mace displays his usual flair for dialogue and crafting a good
story. Director Laura Ellen Smith elicits nice ensemble playing"
- SF Weekly February 6, 2002
(Michael Scott Moore) "The play has a colorful, Tarantino-inflected
style, with quirky, gun-waving characters and excellent live music by a
roots-rock band called the Evil Boll Weevil Boys. "
- Nine One One by Various Bay Area Artists
- SF Bay Guardian December 12, 2002 (Nancy Einhart)
- Are Ya Working? Rants of
a Post-Industrial Hybrid by Steven Karwoski
- SF Bay Guardian December 6, 2001 (Robert Avila) "Karwoski's
sincerity and charm win us over to his side almost immediately"
- Whistleaires' Big Christmas
Special
- Oakland Tribune November 30, 2001 (Chad Jones) "A
kitschy, sweet Christmas show ... with its mix of musical guests, magic
tricks and fairly spectacular whistling."
- Hotel Bethlehem by Tom W. Kelly and Tim Bryant
- Oakland Tribune November 30, 2001 (Chad Jones) "What
was going on at the inn that rejected Joseph and Mary that fateful Christmas
Eve ... definitely for the grown-ups."
- SF Weekly December 12, 2001 (Michael Scott Moore)
- Shocktoberfest !! by the Thrillpeddlers
- SF Weekly House of Tudor October 3, 2001 (Silke Tudor) "One of my favorite events of the Halloween
season"
- SF Weekly October 25, 2000 (Joe Mader)
"Celebrate the holiday in gruesome style"
- SF Weekly November 3, 1999 (Silk Tudor) "There is sure to be
bloodshed before the evening's end"
- San Francisco Fringe Festival
(partial list)
- SF Bay Guardian September 11, 2001 (J.H. Tomkins) "Festival 2001: the pretty good, the
bad, and every once in a while, the exquisite."
- SF Weekly September 11, 2001 (Silke Tudor) "A
Play in a Day ... writing, rehearsing, and performing in 24 hours"
- SF Chronicle September 10, 2001 (Robert Hurwitt)
"A pair of aces from the Fringe"
- CallBoard Magazine September 2001 (Karen Macklin) "It's hard to believe that the San Francisco
Fringe Festival was born just a decade ago."
- SF Bay Guardian September 4, 2001 (Cheryl Eddy) "A
contemporary, female Frankenstein; the radioactive "Beaverzilla";
Shakespearean queens; a hunky perfume squirter; a revisionist Little Red
Riding Hood ... "
- SF Weekly September 4, 2001 (Michael Scott Moore)
"Bizarre Bazaar"
- Contra Costa Times August 31, 2001 (Pat Craig) "one
of the best places to encounter this free-form insanity is at the San Francisco
Fringe Festival"
- SF Chronicle - North Bay Edition August 31, 2001 (Daedalus Howell) "among
the international talent pool in the festival are two North Bay acts ...
"
- San Jose Mercury News August 25, 2001 (Karen D'Souza) "Move
over, Kermit! There's a brave new world of
puppetry out there ... "
- A Sixth of Streetcar
- SF Weekly August 22, 2001 (Night & Day) "A
sneak preview of the forthcoming madness that the 10th annual Fringe Fest
promises, “Sixth” reflects the anything-goes philosophy of the
non-curated theater orgy itself."
- All In The Timing by David Ives
- sfgate.com July 2001 (Anna Mantzaris) "Not-to-be-missed
production"
- Better Days by Gillian Chadsey
- SF Weekly July 25, 2001 (Karen McKevitt) "Remarkably
immaginative and intelligent ... stunning ... lightly and magically orchestrated."
- Lonely Planet by Steven Dietz
- Oakland Tribune July 16, 2001 (Chad Jones) "a
gem of a play, and this warmhearted, beautifully acted production will
make you appreciate your friends and leave you wanting to make new ones."
- True stage grit -- Exit
Theatre opens new Tenderloin house
- San Francisco Chronicle July 8, 2001 (Steven Winn)
- Ladies and Gentlemen, the
Opposite Sex ... Enters Iron Workers Local 202
- sfgate.com June 2001 (Anna Mantzaras) "engaging
and hilarious "
- Gogol adapted
by Jason Craig and Sean Owens
- SF Examiner June 19, 2001 (Joe Mader) "the
marvelous Christopher Kuckenbaker ... approaches Chaplin in the empathy
and originality he displays"
- SF Bay Guardian June 13, 2001 (Brad Rosenstein) "a
delirious musical whirl that captures the Russian master's lyrical absurdity
... an ideal opening for this vital theater's latest asylum"
- SF Chronicle June 13, 2001 (Steven Winn) "Broad
clowning ... bright red noses ... slapstick and roller skating in this
first production at the EXIT on Taylor"
- SF Weekly June 20, 2001 (Michael Scott Moore)
- Dimly Perceived Threats
to the System by Jon Klein
- SF Weekly May 9, 2001 (Karen McKevitt)
- Two By Sea by Edward Albee & Richard Greenberg
- SF Bay Guardian May 2, 2001 (Brad Rosenstein) "It
shines a welcome light on a woefully underappreciated playwright (Greenberg)
and an unfairly neglected play (Albee's), and their thoughtful combination
makes for another intelligent offering from Paducah Mining Co."
- SF Weekly May 16, 2001 (Karen McKevitt)
- Io - Princess of Argos!
Live! at EXIT Stage Left! by Marci Karr &
Mark Jackson
- SF Bay Guardian March 14, 2001 (Brad Rosenstein) "An
absolute triumph ... Wilmurt is simply brilliant ... Don't miss this inspired
gem."
- Back Stage West April 12, 2001 (Jean Schiffman) "Everything
works in this little musical gem."
- SF Examiner March 13, 2001 (Joe Mader) "Breathtaking
... Karr is the equal (and more often, the better) of any current Broadway
composer ... the atonishing Beth Wilmurt ... an extraordinary work of empathy
and Art."
- SF Gate March 20, 2001 (Karen McKevitt) "More evidence that the most exciting
San Francisco theater is happening in small spaces."
- SF Weekly March 21, 2001 (Michael Scott Moore)
"It storms Olympus"
- Vincenzia's Talking Machine
by Erica Blue
- SF Examiner April 1, 2001 (Joe Mader) "Striking images and sequences
... a witch casting a hopeless spell over her makeshift cauldron."
- SF Bay Guardian April 4, 2001 (Brad Rosenstein) "A fever chart of
desire and dispair"
- Marisol by Jose Rivera
- sfgate.com March 2001 (Karen McKevitt) "Performance for lovers
of the absurd"
- SF Bay Guardian April 4, 2001 (Robert Avila) "Political, poetical,
frequently poignant ... a compeling drama of social redemption."
- Love!Labour!Loss by Edward Albee, Mike Ward & Tom Kelly
- SF Bay Guardian March 14, 2001 (Robert Avila)
- SF Bay Times March 22, 2001 (Gene Price)
- The Slant April 2001
- SF Weekly April 4, 2001 (Michael Scott Moore)
- Girlesque by Sean Owens
- SF Examiner February 13, 2001 (Joe Mader) "An
audacious act of transcendence -- a demonstration of the various, mysterious
aspects of love, and an illumination of the power of performance."
- SF Gate.com February 14, 2001 (Karen McKevitt) "One
of the best solo performances I've seen to date."
- Fringe Festival Circuit
- Proformink.com February 1, 2001 (Susan Hubbard)
- Triptych by Michael Mace
- SF Bay Guardian Janaury 31, 2001 (Robert Avila)
- Cafe Depresso by Tom Vegh
- Asian Week February 8, 2001 (Jenny Walty)
- SF Bay Guardian January 31, 2001 (Brad Rosenstein)
- Bay Area Reporter January 31, 2001 (Richard Dodds)
- The Goddess Perlman Is Coming
- SF Weekly January 24, 2001 (Lisa Hom) "A
sultry diva who makes Sandra Bernhard look tame" -- SF Weekly
- Whistleaires' Big Christmas
Show
- Oakland Tribune December 11, 2000 (Chad Jones)
- Arrivals // Departures by Tania Katan and Daniele Nathanson
- SF Weekly November 15, 2000 (Joe Mader)
- Goldie Awards
- SF Bay Guardian November 8, 2000
- A Murder of Crows by Mac Wellman
- SF Gate October 2000 (Karen McKevitt) "One
of the best kept secrets in the black box community"
- sfstation.com (Suzi Levi-Sanchez) "I recommend
it to anyone looking for intellect, poetry and laughs."
- SF Bay Guardian October 18, 2000 (Brad Rosenstein) "Maddening, incisive, random, and word
drunk ... A
Murder of Crows is Wellman par excellence"
- SF Weekly November 1, 2000 (Joe Mader)
- SF Chronicle October 17, 2000 (Steve Winn)
- Shocktoberfest!! 2000 by the Thrillpeddlers
- SF Weekly October 25, 2000 (Joe Mader) "Never
mind the Castro -- the best Halloween experience this year is at the Exit."
- San Francisco Fringe Festival
2000
- SF Weekly September 20, 2000 (Silke Tudor)
- SF Examiner September 12, 2000 (Rob Hurwitt)
- SF Weekly September 13, 2000 (Joe Mader & Michael Scott Moore)
- SF Guardian September 13, 2000 (Brad Rosenstein)
- SF Chronicle September 13, 2000 (Steve Winn)
- The Rape Poems by Frances Driscoll
- BackStage West June 25, 2000 (Kerry Reid)
- The Lost Plays of Jacques
du Bon Temps
- SF Bay Guardian June 21, 2000 (Brad Rosenstein) "Amazingly
prophetic ..."
- Ladies & Gentlemen ...
the Opposite Sex
- Backstage West June 18, 2000 (Kerry Reid) "An engaging and worthwhile experiment in
new writing"
- Snake in the Basement by Liebe Wetzel and Lunatique Fantastique
- SF Bay Guardian May 24, 2000 (Brad Rosenstein) -- "Don't
miss this exceptional, intelligent, singular work."
- Best of the Bay 2000 --
- SF Weekly May 17, 2000 "The Busiest, Most Congenial Little Theater
in Town"
- Salvador Dali Talks to the
Animals by Dan Carbone
- SF Bay Guardian May 10, 2000 (Brad Rosenstein)
"Takes You Places You've Never Been"
- SF Weekly May 10, 2000 (Michael Scott Moore)
- The Beard by Michael McClure
- SF Weekly May 10, 2000 (Michael Scott Moore)
- Speed-The-Plow by David Mamet
- SF Weekly May 10, 2000 (Joe Mader)
- Get Me Rodd Keith!! by Joshua Pollock
- SF Weekly April 19, 2000 (Silke Tudor) House of
Tudor Critic's Pick
- SF Bay Guardian April 26, 2000 (Brad Rosenstein)
- SF Weekly May 3, 2000 (Joe Mader)
- Messenger#1 by Mark Jackson
- BackStage West (Kerry Reid)
- SF Weekly March 22, 2000 (Michael Scott Moore)
"It's dark, damning, graceful, and funny as hell."
- SF Bay Guardian March 15, 2000 (Brad Rosenstein)
- SF Bay Guardian CRITIC'S PICK !!! March 8, 2000 (Cheryl Eddy)
- THEATREWORK -- just published by Art Street Theatre
(Mark Jackson)
- Cat's-Paw by Mac Wellman
- SF Weekly April 5, 2000 (Michael Scott Moore)
- SF Bay Guardian 8 Days of the Week March 8, 2000 (Joshua
Medsker)
- Presto Pronto by Ken Prestininzi
- SF Weekly April 5, 2000 (Michael Scott Moore)
- SF Bay Guardian April 5, 2000 (Brad Rosenstein)
- SF Bay Guardian 8 Days of the Week March 8, 2000 (Joshua Medsker)
- The Caretaker by Harold Pinter
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- Metropolitan February 7, 2000 (Kerry Reid)
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- Give Me Shelter by Wendy Weiner
- SF Bay Guardian February 23, 2000 (Slyvia W. Chan)
- San Francisco Arts Monthly February 2000 (Jean Schiffman)
- Metropolitan February 7, 2000 (Kerry Reid)
- SF Weekly Febraury 02, 2000 (Joe Mader)
- SF Weekly January 26, 2000
- SF Bay Guardian January 26, 2000 (Summi Kaipa)
- Upstage/Downstage Awards
for 1999 by Brad Rosenstein
- SF Bay Guardian December 22, 1999
- The Turn of the Screw by Jeffrey Hatcher
- SF Weekly December 15, 1999 (Joe Mader)
- Stealin' Home by Fred Newman
- SF Bay Guardian November 17, 1999 (Slyvia W. Chan)
- theater-express.com (Laura Chekow)
- Shocktoberfest! by the Thrillpeddlers
- SF Weekly November 3, 1999 (Silke Tudor)
- Drowned by Mark Nishimura
- SF Bay Guardian October 13, 1999 (Slyvia W. Chan)
- 1999 Bay Guardian Goldie
Award
- SF Bay Guardian September 22, 1999 (Brad Rosenstein)
- Six Plays-en Short exploring lives inside- and after - the Middle East
- SF Bay Guardian August 11, 1999 (Brad Rosenstein)
- Who's Afraid of Virginia
Woolf ? by Edward Albee
- SF Bay Guardian August 18, 1999 (Brad Rosenstein)
- Wilhelm Reich in Hell by Robert Anton Wilson
- SF Bay Guardian July 14, 1999 (Brad Rosenstein)
- Glengarry Glen Ross by David Mamet
- SF Bay TimesJuly 8, 1999 (Jeff Smith)
- La Turista by Sam Shepard
- sfgate.com July 7, 1999 (David Curran)
- Problem Child by George F. Walker
- SF Bay Guardian June 9, 1999 (Brad Rosenstein)
- Bay Area Reporter May 27, 1999 (Deborah Peifer)
- SF Weekly June 16, 1999 (Michael Scott Moore)
- OARB June 11, 1999 (David Kashimba)
- Pride
by Myles Weber
- Bay Area Reporter
June 24, 1999 (Richard Dodds)
- SF Bay Times June 24, 1999 (Gene Price)
- sidewalk.com June 4, 1999 (Appolinaire Scherr)
- SF Bay Guardian June 4, 1999 (Brad Rosenstein)
- Female Transport by Steve Gooch
- SF Bay Guardian May 26, 1999 (Elise Archias)
- Best (3,000 Miles) Off-Broadway
Theater
- SF Weekly May 19, 1999 (Best of San Francisco 1999)
- Like
& Murder Cake by Diane di Prima
- SF Bay Guardian May 12, 1999 (Brad Rosenstein)
- sfgate.com (Apollinaire Scheer)
- To The Dogs & The Dove by Djuna Barnes
- SF Bay Guardian May 26, 1999 (Brad Rosenstein)
- sfgate.com (Apollinaire Scheer)
- The Sneeze by Anton Chekhov
- SF Weekly April 29, 1999 (Michael Scott Moore)
- Playing Juliet / Casting
Othello by Caleen Sinette Jennings
- SF Weekly April 21, 1999 (Michael Scott Moore)
- Bang! by
Mark Jackson March 5 - March 27, 1999
- SF Weekly March 24, 1999 (Michael Scott Moore)
- SF Bay Guardian March 10, 1999 (Brad Rosenstein)
- Traitor to the Cause by Terri Kasch March 5 - April 3, 1999
- SF Bay Guardian March 10, 1999 (Maureen Foley)
- SF Weekly March 19, 1999 (Michael Scott Moore)
- Subject to Fits by Robert Montgomery January 29 - February 27, 1999
- sanfrancisco.sidewalk.com
(Dennis Harvey)
- SF Bay Guardian February 3, 1999 (Brad Rosenstein)
- SF Bay Guardian January 27, 1999 (Elias Archias)
- CitySearch.com (Jean Schiffman)
- SF Weekly February 10, 1999 (Michael Scott Moore)
- SF Bay Times February, 1999 (Gene Price)
- Hamlet adapted by Charles Marowitz January 29 - February 27, 1999
- sfgate.com January 29, 1999 (Appolinaire Scherr)
- SF Bay Guardian February 24, 1999 (Brad Rosenstein)
- SF Bay Guardian January 27, 1999 (Elias Archias)
- SF Weekly February 10, 1999 (Michael Scott Moore)
- East by Steven Berkoff December 3 - 19, 1998
- SF Weekly December 16, 1998 (Michael Scott Moore)
- Up From the Ground by Dan Carbone December 3 - 19, 1998
- SF Metropolitan December 7, 1998 (Kerry Reid)
- Alice Under Water by Kish Song Bear November 5-21, 1998
- SF Weekly November 18, 1998 (Michael Scott Moore)
- SF Bay Guardian November 11, 1998 (Brad Rosenstein)
- Orgasmo Adulto Escapes
from the Zoo by Dario Fo & Franca Rame
November 6 - 21, 1998
- SF Weekly November 18, 1998 (Michael Scott Moore)
- Dangerous Corner by J.B. Priestly October 8 - October 30, 1998
- SF Bay Guardian October 14, 1998 (Brad Rosenstein)
- Baby With the Bathwater by Christopher Durang October 8 - October 30, 1998
- SF Bay Guardian October 14, 1998 (Myeast McCauley
- Oleanna by David Mamet July 30 - August 22, 1998
- SF Weekly August 12, 1998 (Michael Scott Moore)
- SF Bay Guardian August 5, 1998 (Lori Culwell)
- Sal by Sarah Ells July 9 - July 25, 1998
- SF Bay Guardian July 15, 1998 (Brad Rosenstein)
- SF Weekly House of Tudor column July 8, 1998 (Silke Tudor)
- sanfrancisco.sidewalk.com article July 15, 1998 (Belinda Taylor)
- Aria Da Capo by Edna St. Vincent Millay June 23 - July 28, 1998
- SF Weekly July 15, 1998 (Michael Scott Moore)
- SF Bay Guardian July 1, l998 (Brad Rosenstein)
- sanfrancisco.sidewalk.com article July 15, 1998 (Belinda Taylor)
- Exit The King by Eugene Ionesco June 12 - July 28,
1998
- Backstage West July 2, 1998 (Kerry Reid)
- SF Weekly July 8, 1998 (Michael Scott Moore)
- Black Elk Speaks by the Rough Theatre Company June 5 -
June 20, 1998
- SF Weekly June 17, 1998 (Michael Scott Moore)
- Brave by Mark Jackson and Jordon Flato May
7 - May 30, 1998
- SF Weekly May 20, 1998 (Michael Scott Moore)
- SF Bay Guardian May 20, 1998 (Brad Rosenstein)
- Do Let Us Go Away. A
Play by Gertrude Stein &
- Three Sisters Who Are Not Sisters text by Gertrude Stein music by Ned Rorem
- Metropolitan May 18, 1998 (Kerry Reid)
- SF Bay Guardian May 6, 1998 (Brad Rosenstein)
- sanfrancisco.sidewalk.com May 6, 1998 (Dennis Harvey)
- BayInsider.com May 16, 1998 (Kate Friedman)
- Kvetch by Steven Berkoff April 16 -
May 2, 1998
- SF Weekly April 15, 1998 (Heather Wisner)
- citysearch7.com April 21, 1998 (Jean Schiffman)
- SF Bay Guardian April 22, 1990 ( Will West)
- SF Weekly May 6, 1998 (Michael Scott Moore)
- 1st Annual Black Box
Awards
- by SF Weekly April
8, 1998 (Carol Lloyd & Michael Scott Moore)
- The Hanged Woman by Lee Kiszonas March 19 - April 11, 1998
- SF Bay Guardian (Brad Rosenstein)
- The Dumb Waiter & Victoria Station by Harold Pinter March
3-April 7, 1998
- SF Weekly (Michael Scott Moore)
- San Francisco Bay Guardian (Lori Culwell)
- Waiting For Godot by Samuel Beckett February 20 - March
14, 1998
- San Francisco Bay Guardian (Lori Culwell)
- sfstation.com (Duncan Lawson)
- Back Stage West (Kerry Reid)
- SF Weekly (Michael Scott Moore)
- The Maids by Jean Genet January 23 - February 14, 1998
- sanfrancisco.sidewalk (Belinda Taylor)
- citysearch7.com review (Jean Schiffman)
- sfstation.com review (Dana Goldberg)
-
- Blood on the Cat's Neck by Rainer Werner Fassbinder January
23, February 14, 1998
- sanfrancisco.sidewalk (Dennis Harvey)
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- General Articles:
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Theatre on a Budget (Jean Schiffman)
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the edge of theater (Jennifer Joseph)
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- The 1997 San Francisco Fringe
Festival:
- citysearch7.com: Fringe
Binge (Jean Schiffman)
- The Mystery of the Fourth
Wall by Mary Zimmerman
- San Francisco Chronicle December 5, 1989 (Bernard Weiner)
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