Think Tank #4 - Equality Wednesday, August 18 7pm-10pm
Institutional press
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Show press
2010
- “offers all the pleasurable frissons of a late-night ghost story. ”
- — Laurel Graber, New York Times
- “Spine-tingling" is an adjective I rarely use when describing an evening of theatre, sadly, but as the lights rose on Here's production of Aunt Leaf and three ghostlike performers emerged from the creepy haunted house of a set, I felt genuine chills. Even more impressive, playwright Barbara Wiechmann and director Jeffrey Mousseau maintain that deliciously eerie atmosphere for the play's 45-minute duration.”
- — Clifford Lee Johnson III, Backstage
- “I wish as many 9-year-olds as possible could see Aunt Leaf, for then they would learn how a well-told tale and one's own imagination are all that are required to chill the blood and fire the mind.”
- — Clifford Lee Johnson III, Backstage
- “...a play for kids that's really for adults, I think. It's not that its story or themes are in any way unsuitable for young audiences: on the contrary, its celebration of the power of storytelling, in whatever unconventional form it may take, is affirming and valuable for people of all ages.”
- — Martin Denton, nytheatre.com
- “...a mesmerizing fusion of performance art and multisensory installation.”
- — The New York Press
- “SOUNDING is the kind of visceral, exciting theatre experience that defies genre or label.”
- — Martin Denton, nytheatre.com
- “With its visual and aural onslaught, SOUNDING is a feast for the senses.”
- — Pamela Newton, Timeout New York
- “a treat worth indulging in.”
- — The Village Voice
- “PARIS SYNDROME is playful fun”
- — Culturebot
- “Attendance is highly advised. To miss it—now that would be a sin.”
- — Village Voice
- “Grandly satisfying piece of theatre in miniature.”
- — Backstage
2009
- “pleases on almost every level... with an intelligent grace that is as moving as it is impressive”
- — New York Times
- “...at once uproarious and harrowing...”
- — The New Yorker
- “Bizarre, complex, and strangely moving, Removable Parts is lyrically brilliant and truly original.”
- — Flavorpill
- “[T]his may well be the first BIID musical, and quite a successful one.”
- — The Village Voice
- “I could have sat for hours hypnotized by the final crystal chord of the spinning oscillators.”
- — Live Art Magazine
- “The big finish, which puts Susan Zeeman Rogers’s clever set to the test, is both tragic and optimistic. The last word goes to the poem’s mastiff, played by a flat dog statue, whose growls and other vocalizations are comic high points.”
- — The New York Times - Anita Gates
- “...lyrical monologues, otherworldly videos and an ingeniously eerie set...Red Fly/Blue Bottle is a purposefully elusive work, a poetic meditation...”
- — Jason Zinoman
- “sweetly strange...a complete, unique universe”
- — Alexis Solowski
- “Red Fly/Blue Bottle: Genre-Buster...an intriguing, richly layered work of music-theater that resists categorization...”
- — Susan Youn
- “Eye candy, fantastically creepy music, and an expert dash of steampunk fill the stage in this deliciously haunting concert...”
- — Jax
- “Gloriously demented...the actors give intricately nuanced comic performances that are perfectly in tune with the pinballing madness ”
- — Charles Isherwood, The New York Times
- “Hanne Tierney's evocative puppet play...is at once death-obsessed and jaunty, abstract and full of geometric precision.”
- — Rachel Saltz, The New York Times
- “..a tender, eccentric, accessible play”
- — Alexis Soloski, The Village Voice
- “Nutshell weaves vivid projected images and fantastic live music into the narrative. The end result is spellbinding and emotionally engaging. See it and be charmed.”
- — Feminist Review
- “…the riot of styles sometimes clashing and sometimes coalescing during “The Lily’s Revenge” offers so many incidental pleasures that theatrical time — always a curiously malleable element — seems to contract.”
- — Charles Isherwood, New York Times
- “In its bravery, scope, creativity, extremity and sheer generosity of spirit, The Lily’s Revenge, to my mind, surpasses any American theater in New York this year. Lolling and popping at the bull’s-eye of the show is the playwright himself, one of the most exciting theater artists of our time.”
- — Adam Feldman, Time Out New York
- “If there were a prize for Most Ambitious Nutty Project of the Year, "The Lily's Revenge" would win, hands down.”
- — Elisabeth Vincentelli, New York Post
- “intelligent, endlessly surprising, and above all spectacularly entertaining. It inspires hyperbolic pronouncements like "the most important event of the theater season"...and then thumbs its nose at such portentous preposterousness (or bares its bottom; it's that kind of cheeky show, after all)”
- — Martin Denton, nytheater.com
2008
- “Eat your heart out, Madonna.”
- — Ben Brantley, The New York Times
- “What Arias and Twist have fashioned is no less then an eye-popping, delightfully transgressive lysergic fantasia.”
- — Time Out New York
- “As show-business survivors go, few are as graceful or as funny as the drag artist and singer Joey Arias.”
- — The New Yorker
- “Lurid, feverish and powerful”
- — NYTimes
- “A thrilling, complicated, and thought-provoking multimedia [work]”
- — Nytheatre.com
- “A sensory coup that is best experienced by letting it simply wash over you”
- — CurtainUp
- “Ms. Driscoll’s rigorous exploration of this physical – and, it seems, mental – manipulation feels startlingly original in it’s peculiar configuration of slapstick and darkness.”
- — New York Times
- “No to prettiness, no to glamour, no to glistening muscular limbs. Yes to intensity, yes to body heat, yes to wildness, freedom and in your face defiance. Faye Driscoll has produced a giddy anarchism.”
- — Dance Magazine
2007
- “...you marvel at how assured and in control this brash, genial performer is”
- — The New York Times
- “A wildly inventive treat... [an] aural and visual circus... it's amazing what sick, outrageous connections O'Harra and Co. inspire.”
- — Time Out New York
- “Equal parts Sid Vicious and Akira Kurosawa, Drum of the Waves of Horikawa is a brilliant mashup of two seemingly disparate art forms -- traditional Japanese kabuki theatre and '70s punk rock. The wildly imaginative downtown group Theatre of a Two-Headed Calf has woven the common threads of violent energy, extreme posturing, and destructive attitude into its production of a Japanese play that dates from 1705. Featuring a live band, adultery, revenge, full-frontal nudity, murder, and inventive punk-samurai costumes and makeup, the show is one of the most original and entertaining Off-Off-Broadway productions of the year.”
- — Flavorpill
- “Drum of the Waves of Horikawa incorporates a kinetic punk rock score that swings and sizzles... Executed with inventive, rigorous precision by an indefatigable ensemble in a 12’ playing space, [it] is at turns lively, startling, funny ... The cast is uniformly excellent, throwing themselves completely into O’Harra’s elaborately choreographed staging with a physicality that, for all its precision, still exudes an exhilarating air of recklessness.”
- — The Gothamist
- “Wild and energetic... this new production from the Theatre of the Two-Headed Calf blends traditional Kabuki with '70s punk rock to create an experience that is entertaining and unforgettable.”
- — Washington Square News