RATTLESTICK PRESS

LEWISTON / CLARKSTON (New York Times Critics Pick)

“It’s only fitting that Rattlestick Playwrights Theater would gut its Greenwich Village home to accommodate the unconventional production of “Lewiston/Clarkston.” The 24-year-old company merely did for Samuel D. Hunter’s new play what the play will do to you.” The New York Times

“Theater of the most deeply moving kind…By the evening's end, you'll have a palpable sense of having shared something special with your fellow theatergoers.” - The Hollywood Reporter

“[Samuel D. Hunter] is interested in American disenchantment, in the great adventure stories we’ve told ourselves about ourselves, and the legacy of those stories in a time when “there’s just nothing left to discover.” His characters are contemporary lost souls, too aware of the underbelly of the American narrative — of all that was lost and stolen and destroyed in the name of exploration and expansion — to believe in anything so naïve as a national dream, but still searching, stumbling down unknown paths toward something as small, or as great, as each other.” - Vulture/New York Magazine

"For the daring theatrical explorers among us, Lewiston/Clarkston is a must-see.” - Theatermania

“Riveting, haunting, extraordinary… leave it to Hunter, right at this moment, to find something beautiful beyond dispute that unites us as Americans, and as all people living here.” - New York Stage Review

“There are only six characters total in Lewiston/Clarkston. . .and they are some of the most potently developed I saw onstage in 2018.” - Buzzfeed News

THE ENCLAVE (Middle Voice at Rattlestick Workshop Production)

"Arthur's play The Enclave was certainly ahead of its time in 1973 with a central homosexual character.  I know he would be so pleased by the revival by the company assembled for Rattlestick's Middle Voice program." - David Saint, President of the Laurents/Hatcher Foundation and Artistic Director of George St. Playhouse

DRAW THE CIRCLE

“Draw the Circle does not sugarcoat [Deen’s] despair or incidents of violence, yet it rather amazingly reaches back to retrieve people who easily could have been cut out for life. The wrathful moment confronting us with the ongoing violence against trans people does not define the tone of this personable, entirely approachable show. Inarguably, though, it's that flicker of wrath that gives the piece its purpose.” -The Washington Post

“The story of personal anguish and eventual self-realization Deen tells in Draw the Circle would have made for a moving experience as a memoir, to be sure. But by telling his story through the perspectives of those around him, he achieves that high artistic aim of locating broader universal import in a deeply specific tale.” -Theatermania

UNTIL THE FLOOD (New York Times Critics Pick)

“Sensitively directed by Neel Keller, “Until the Flood” is a group testimonial composed of a variety of voices, from angry teenagers to reflective elders, all struggling to come to terms with the issue of race on its most personal level — their own.” -Variety

“Until the Flood pointedly avoids easy sanctimony, instead challenging us to confront the deep, long-running societal fissures that the incident, and many others like it in recent years, lay heartbreakingly bare.” -Theatermania

“Until the Flood” is an urgent moral inquest.” -The New York Times

{my lingerie play} 2017 THE CONCERT AND CALL TO ARMS!!!!!!!!! The Final Installment (New York Times Critics Pick)

“Oh, who grew up the child of working-class immigrant parents in Southern California, is a magnetic, open-hearted, and funny performer. She transforms the show's wrenching subject matter into a celebration of life, difference, and voice.” -Upworthy

“Oh makes a mighty preacher, rallying the converted into a sincere and openhearted circle. For right now, the faith she’s sharing is mainly in herself, but love like this has a way of moving outward.” -Time Out New York

“A glitter bomb of feminist and queer protest that feels just right for this cultural moment.” -The New York Times

SEVEN SPOTS ON THE SUN

“The play does not go down easy. But it's not easily forgotten. It leaves a wound.” - Time Out New York

“Seven Spots on the Sun is a ferocious play.” -Pop Dust

ORANGE JULIUS

“Dustin Wills directs with an uncommonly intimate grip; the cast is superb, and the execution (particularly Palmer Hefferan's sound design) is confident and effortless. If these are Kreimendahl's own memories, it’s a blessing that such fragile things are being treated so tenderly.” -Time Out New York

“As much as “Orange Julius” grieves a lost father, it also laments a relationship that might have been — between two people who didn’t try hard enough to know one another, then ran out of time.” - The New York Times

“There’s a lot to like about Orange Julius: its articulate, forthright personal narrative; its attention to veterans’ experience; its foregrounding of a trans character without making Nut’s transition the sole focus of the plot. That Kreimendahl resists inserting present-day drama into Nut’s story, allowing the play to live entirely in the before, shows admirable restraint.” -Village Voice

“The heart of Orange Julius is the universal human desire to connect. It’s that same heart that will have its strings tugged at the play’s emotional conclusion.” -The Huffington Post

CAL IN CAMO (Time Out New York Critics Pick)

“William Francis Hoffman’s powerful, too-brief Cal in Camo is ruthlessly grown-up” -Time Out New York

“The play is best in its moments of quiet strain, in naturalistic dialogue that suggests how good will goes awry when we are trying our hardest to bond.” - The New York Times

IRONBOUND (New York Times Critics Pick, Time Out New York Critics Pick)

“Ms. Majok’s perceptive drama, with its bone-dry humor and vivid characters, illustrates how vulnerable people like Darja are, hostages to the vagaries of chance, unless they can manage to climb out of poverty.” - The New York Times

“Onstage for all 85 minutes of the play—and wrung through a harsh machinery of pride, hope, desperation and regret—the excellent [Marin] Ireland digs in and delivers a tough, moving portrait of a woman stuck in place.” - Time Out New York

“Director Daniella Topol reveals an authentic feel for the play's gritty milieu, and the male actors make vivid impressions in their smaller roles. But it's [Marin] Ireland who's the standout of the production, demonstrating for the second time this season. . .that she's become one of our most invaluable stage performers.” - The Hollywood Reporter