Selected comments left by Nominators in the 2017-2018 Season. Leaving comments is optional; the number of comments is not indicative of overall Nominator scoring. Please report any errors to shane@gregoryawards.org.

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Number of entries: 3301
Defining Moment Welcome to Arroyo's  - Theater Schmeater

Alejandro's amazing hair made me wish there was a hair and makeup award.


 Defining Moment Welcome to Arroyo's  - Theater Schmeater

DJs in the back as the Greek chorus. Plus, the music.


 Defining Moment Welcome to Arroyo's  - Theater Schmeater

Fun-loving, mutlicultural ensemble delivering sass and emotion at high volume.


 Defining Moment Welcome to Arroyo's  - Theater Schmeater

I enjoyed walking into the theater and feeling like I walked into a bar instead, with two D.J.s working up in a booth behind the bar - just doing their thing the whole time while people came in and found their seats. That continued until they segued into the beginning of the actual play. Both D.J.s were very entertaining as they moved to the music, and very well, I might add.


 Defining Moment Welcome to Arroyo's  - Theater Schmeater

I found the moments when Amalia and Derek had their special lighting and music delightful!


 Defining Moment Welcome to Arroyo's  - Theater Schmeater

I saw this show on opening, with a very white, predominantly industry audience. There's a few moments where the DJ duo asks for audience participation - mostly call & response - for their tracks. I wonder if they've adjusted this for the rest of the run because, while we were all very game, that was definitely less successful than it could have been.


 Defining Moment Welcome to Arroyo's  - Theater Schmeater

Seeing a strong, well-spoken woman being heard.


 Defining Moment Welcome to Arroyo's  - Theater Schmeater

The first time that the "chorus" stops the scene and manipulates it (rewinding the scene and playing it multiple times).


 Defining Moment Welcome to Arroyo's  - Theater Schmeater

The lady punching the cop for the 1st, 2nd and third time!!!


 Defining Moment Welcome to Arroyo's  - Theater Schmeater

There was a moment when the characters had an "instant replay" in the bar and the cap came off a bottle that had obviously been opened before, the character just smiled and made it part of the action, I loved it.


 Defining Moment Welcome to Arroyo's  - Theater Schmeater

When the music starts up at Arroyo's towards the end, and then the officer comes in and crashes the party, it felt like energy was really syncing up and the cast and narrative hit a high point. It felt like everyone was on board and focusing our attention well.


 End of Season Comments Welcome to Arroyo's  - Theater Schmeater

Welcome to Arroyo's I found was extremely well written and the small size of Theater Schmeater made the show amazingly immersive.


 Michael Cercado (Nelly) Welcome to Arroyo's  - Theater Schmeater

Perfect in this role as a D.J. Fun and animated.


 Naa Akua (Derek) Welcome to Arroyo's  - Theater Schmeater

A really heart-felt performance, with such expressive eyes that really drew the audience in.


 Other/Final Comments Welcome to Arroyo's  - Theater Schmeater

This show represented the culture of Theater Schmeater and deserves to be celebrated. Had a wonderful time.


 Other/Final Comments Welcome to Arroyo's  - Theater Schmeater

Well executed and a really fun show.


 Richard Sean Glen (Trip) Welcome to Arroyo's  - Theater Schmeater

Perfect in this role as a D.J., with really great feel for the music as he moved to the beat of the songs with energy and accuracy.


 Tony Magana Jr. (Alejandro) Welcome to Arroyo's  - Theater Schmeater

Star quality!


 Alysha Curry (Lady Fidget) William Wycherley's The Country Wife  - Theater Schmeater

Always a fun actress to watch, whatever role she plays. So specific and expressive.


 Comments (Costume) William Wycherley's The Country Wife  - Theater Schmeater

Loved the way the curvier actors were dressed as beautifully as all the other characters! A lot of work and care was evident in the corseting and tailoring as well.


 Comments (Direction) William Wycherley's The Country Wife  - Theater Schmeater

From the seamless movement of the many characters on stage, to the perfect balance of subtle slapstick physicality and spot-on comedic timing, every moment in this play felt intentional and smart. The focus on the strength and wit of the female and queer characters made an especially big impact, allowing them to shine powerfully in their exuberance and illuminating the satire of the piece in an unexpected way.


 Comments (Scenic) William Wycherley's The Country Wife  - Theater Schmeater

Nice use of the vertical space!


 Comments (Sound/Music) William Wycherley's The Country Wife  - Theater Schmeater

The modern music was perfectly chosen and well-timed, nicely complementing the action onstage.


 Defining Moment William Wycherley's The Country Wife  - Theater Schmeater

A defining moment was when an understudy came onstage on book and the other actors valiantly played all of their objectives. I respected their handling of a challenging situation.


 Defining Moment William Wycherley's The Country Wife  - Theater Schmeater

Contrast of modern gadgets and period costume/dialogue


 Defining Moment William Wycherley's The Country Wife  - Theater Schmeater

Discovering that an actor still on-book can deliver a performance commensurate with those around him.


 Defining Moment William Wycherley's The Country Wife  - Theater Schmeater

Enjoyed all of Margery's scenes - Shermona was awesome as always.

I can't think of ONE Defining moment per se, but in all her scenes with her husband, it was hilarious how he kept telling her all the things he wanted her to not know.


 Defining Moment William Wycherley's The Country Wife  - Theater Schmeater

Opening scene, with the classic diction and scansion, with promise of both ribaldry and seriousness to come


 Defining Moment William Wycherley's The Country Wife  - Theater Schmeater

Shermona's final monologue.


 Defining Moment William Wycherley's The Country Wife  - Theater Schmeater

The choreographed sequence with Horner and the 3 fancy women; Shermona Mitchell’s opening and closing monologues.


 Defining Moment William Wycherley's The Country Wife  - Theater Schmeater

There's a moment in the second act when Margery fools her husband, though he thinks she is simple and could never achieve such a thing. Shermona's body language in that moment is everything! She perfectly portrays comedy and strength of character in equal measure, making a mockery of the misogyny surrounding her character with one amazing glance.


 Defining Moment William Wycherley's The Country Wife  - Theater Schmeater

When Horner read Marjorie's letter aloud and talked about her husband "killing her squirrel." I have no idea what that means, but his face was amazing.


 Nabilah Ahmed (Harcourt) William Wycherley's The Country Wife  - Theater Schmeater

She is a captivating actress...her reactions were so fun to watch. Totally committed to her objectives.


 Nicholas Bernard (Horner) William Wycherley's The Country Wife  - Theater Schmeater

Such a joy to watch! Nicholas's portrayer of Horner was funny and charming, while also bringing a great nuance to the character with every sideways glance.


 Other/Final Comments William Wycherley's The Country Wife  - Theater Schmeater

I really appreciated the diversity of casting in this production!


 Shermona Mitchell (Margery) William Wycherley's The Country Wife  - Theater Schmeater

Such strength and charm as Margery! Shermona made me both laugh out loud and think deeply about her character's plight, long after the show was over.


 Comments (Costume) League of Youth, The  - Theatre 9/12

Nice job on a low budget. Come creative ideas to get proper silhouette. Even thought the mens suits were not correct period, great job distinguishing characters class.


 Comments (Direction) League of Youth, The  - Theatre 9/12

Good use of space. Blocking and flow of characters moved well in the round. I appreciate that they did not mess around with accent. Focused on delivery of the story.


 Defining Moment League of Youth, The  - Theatre 9/12

Barnett's commitment to his character. Whether just off stage or on he was always reacting and involved.


 Defining Moment League of Youth, The  - Theatre 9/12

I simply found Ms. Rundholmen's presence memorable throughout. I loved the way she described her life owning a hotel. Then the whole misunderstanding with Stensgaard's proposal was fun to watch.


 Defining Moment League of Youth, The  - Theatre 9/12

In the final scene, a completely dedicated cast going after the Noises-Off absurdity of Ibsen's only comedy.


 Defining Moment League of Youth, The  - Theatre 9/12

Loved it when the lead actor, Tom Ryan, jumped on the table to rally for change. It was a simple bit of blocking that quickly established his character for the audience.


 Defining Moment League of Youth, The  - Theatre 9/12

Stensgaard's spotlit monologue atop the picnic table.


 Defining Moment League of Youth, The  - Theatre 9/12

The ending. The entire cast if wealth is around the table frozen mid champagne toast. The character Stensgaard reenters the scene get back upon the table, as he did delivering us his speech delivered first half of the play. Reminds us to be the change we want to see.


 Defining Moment League of Youth, The  - Theatre 9/12

The final moment felt like the one the director wanted us to walk away with: the company frozen around the table, with Stensgaard standing on top delivering a final speech.


 Defining Moment League of Youth, The  - Theatre 9/12

Walking into the space at Trinity Parish felt like stepping back in time. The most wonderful aspect of this production was the way the church space was used to create a communal feeling.


 Margaret Bicknell (Mrs. Rundholmen) League of Youth, The  - Theatre 9/12

Her role was small, but mighty. I loved her presence on stage.


 Michael Ramquist (Mr. Brattsberg) League of Youth, The  - Theatre 9/12

Great explosion in Act II-2 when he begins to unravel Stensgarrds plot.


 Other/Final Comments League of Youth, The  - Theatre 9/12

A well-paced, committed production of a rarely produced Ibsen play.


 Robert Barnett (Mr. Lundestad) League of Youth, The  - Theatre 9/12

Bob Barnett infused so much extra humor into his scenes with his impeccable timing and clear character choices.


 Robert Barnett (Mr. Lundestad) League of Youth, The  - Theatre 9/12

Very funny. Totally believed this character.


 Comments (Costume) You Are Right, If You Think  - Theatre 9/12

Costumes were simple, but impeccably fitted and put together, and well-suited to each character's personality. The cannabis leaf socks were a great touch!


 Comments (Costume) You Are Right, If You Think  - Theatre 9/12

I was very impressed with the costumes for the show, especially at a company this small. The looks were very telling for each character and impeccably tailored (when appropriate).


 Comments (Playwright) You Are Right, If You Think  - Theatre 9/12

While this wasn't an original script, it was a smart, effective adaptation of Pirandello's original work. Very nicely done!


 Comments (Scenic) You Are Right, If You Think  - Theatre 9/12

Nice use of a small space. I loved the detail of the mismatched chairs, the plush bed covering, and the symbolic red and blue paint on every piece of furniture.


 Defining Moment You Are Right, If You Think  - Theatre 9/12

Clara's lovely green outfit


 Defining Moment You Are Right, If You Think  - Theatre 9/12

Fun moment when all the actors were clustered together on the central couch. They moved together like a flock of birds watching/listening.


 Defining Moment You Are Right, If You Think  - Theatre 9/12

I enjoyed many of the costumes, particularly the very late 50s dresses worn by Susan Echols-Orton and Meredith Binder. Great colors, great line.


 Defining Moment You Are Right, If You Think  - Theatre 9/12

Leon's opening moments as he lights and enjoys his weed.


 Defining Moment You Are Right, If You Think  - Theatre 9/12

The first time Ponzi and Mrs. Ponzi were brought together was fascinating.


 Defining Moment You Are Right, If You Think  - Theatre 9/12

The last moment, with the uncle's last line. He was very good at drawing the play together and keeping me entertained. His energy was infectious!


 Defining Moment You Are Right, If You Think  - Theatre 9/12

The Mayor's entrance. From the moment she stepped on stage, Margaret Bicknell was magic!


 Defining Moment You Are Right, If You Think  - Theatre 9/12

The moment Frank Oakes saunters onstage, with that certain cynical look...


 Defining Moment You Are Right, If You Think  - Theatre 9/12

When Leon lies back on his lounging couch/bed center stage, hands behind his head, and contemplates the folly of his family and neighbors. This happens several times throughout the play and it is a satisfying break from the chaos and seems to pull the disparate characters and explanations together each time.


 Lisa Carswell (Grace) You Are Right, If You Think  - Theatre 9/12

Lisa Carswell was wonderful as Grace. She bought into her own inconsistancies without the slightest hint of irony, as do we all. She was funny, engaging, and a good ensemble member.


 Margaret Bicknell (Mayor) You Are Right, If You Think  - Theatre 9/12

Though her time on stage was shorter than most of the ensemble, Margaret's commanding performance stole the show! She was absolutely perfect as the poised and sensible Mayor. I was fully convinced I was in the presence of a great politician!


 Michael Oaks (Leon) You Are Right, If You Think  - Theatre 9/12

A great performance by Michael Oaks. He was funny and insightful as Leon. Often he didn't have to say anything to make his character's point.


 Michael Oaks (Leon) You Are Right, If You Think  - Theatre 9/12

The perfect old stoner.


 Zandi Carlson (Clara) You Are Right, If You Think  - Theatre 9/12

Zandi Carson was fun to watch as Clara. She bought totally into her stylized character, which made all of the jokes work.


 Adera Gandy (Masha) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Lovely portrayal of Masha. A subtle, determined, and yet sorrowful representation of her struggle.


 Adera Gandy (Masha) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Masha had the biggest moments out of the Pussy Riot team. She had long monologues. However, her time with these long monologues is not the reason that she was the most memorable out of the three Pussy Riot members on trial. It was that everything she did was so moving. She had a scene where they asked the names and she was the last hold out but then one of the guards threatened her son and it was so moving to see her break and give her name to protect him.


 Caitlin Macy-Beckwith (Reporter/Anna/Doctor) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Caitlin handled a variety of roles with skill. Each character felt fresh and unique.


 Charles Hawkins (Guard/Patriarch) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

did a great job as the guard especially. so believable as cee-lo. one of my favorite moments in the show was when he gave Sergei the chocolate. so moving.


 Comments (Actors) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

the whole cast did such a great job.


 Comments (Costume) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

the costumes were amazingly simple. most of the cast wore the balcalvas and then took them off when they transitioned to be another character. this gave the cast the ability to be both ensemble and their main character.


 Comments (Direction) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

I attended the talkback and heard what the director's vision was for the show and i think he truly understood the playwright's vision and brought it to life. he wanted to have a "documentary musical" and i really felt as an audience member that i was watching a documentary.


 Comments (Direction) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Some awesome and interesting problem-solving that went into the staging. Especially with entering the theatre to start the show.


 Comments (Direction) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

The use of the space was very clever. The immersive effect of having cast members surrounding the audience on all sides, in front and behind, was quite powerful. The use of levels added interest during the scenes where actors were climbing the fences. I was also struck by the presence of characters who may not have had any lines in a particular scene, but were on stage to observe or to intertwine their story with the action onstage- this always felt intentional, and added a depth to those scenes.


 Comments (Ensemble) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

One of those times when the whole was more than just the sum of the parts. They made each other better in the space together.


 Comments (Ensemble) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

the cast as a whole had so much to do. they were very often multiple characters as well as ensemble. they worked so well together that all the transitions were not confusing at all. they were such a cohesive team. i loved when they would come together to do the commentary. for instance there was one moment near the beginning when they got in a circle and talked about Russian values as propaganda and it was amazing.


 Comments (Ensemble) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

The transitions really felt seamless throughout the show. With so many actors playing multiple parts, this is not easy to do! But each actor moved from character to character smoothly, and every interaction felt genuine.


 Comments (Lighting) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

it is not a theatre space. i think there were maybe only 10 theatre lights in the whole space. but they used the natural space's lights and the lighting design really supported the story the director was telling. further, there was great use of shadows and light.


 Comments (Lighting) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

The use of flashlights was a nice touch.


 Comments (Overall Production) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Big points to the direction and ensemble. But bigger points go to Theatre Battery for picking the piece to begin with.


 Comments (Overall Production) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

For a small theatre company in Kent, I wasn't sure what to expect. Overall, I was very impressed by the quality of the production! The diversity in casting was especially appreciated, and I was also very excited about their 'radical hospitality' program, where all tickets are free of charge. Making theatre accessible to a wider audience is a worthy and important endeavor, and it added to the positive experience I had that the audience was filled with a diverse group of attendees.


 Comments (Overall Production) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

To have a small theatre group in kent bring such a story to life in such a unique and creative way was amazing. they had the audience so emotionally immersed in this story from the beginning with having the show start outside and move inside to the stage layout and having the audience so close to the action. this show was just amazing. it was unique and you felt so changed by the story and themes in it.


 Comments (Scenic) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

I loved the chain link fence surrounding the stage. It was a great way to create the feeling of being locked in, and also gave fantastic opportunities for actors to engage with it and to add sound to the scenes.


 Comments (Scenic) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

the set was amazing. it was very simple but used in so many different ways. there wasn't really a backstage area, the actors used the space behind the stage and the fencing behind the audience to do their transitions and it did not impact what was happening on stage.


 Comments (Sound/Music) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

I really enjoyed the use of live instruments as sound effects. The drumsticks on the wooden platforms as gunshots, the cello's cries during monologues, and the chain link fence during protests- the live sounds contributed to a feel of urgency. The timing of the sounds were well thought-out and they all added dimension to the action on stage.


 Comments (Sound/Music) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

so they call this a musical but the actors almost never sing. the description is that they "mash hymns of Rachmaninoff with the punk of Pussy Riot to build a bridge across the universe." i think the sound design really brought the story to life. it was so inventive to have drums as a gun shot sound cue and the use of instrument to supplement the actors' speeches made it feel like a musical even though the actors hardly actually sang. the sound design really supported the overall vision and helped bring it to life.


 Danielle Alexis Nicole Mitchelle (Defense/Madonna) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Dani did such a good job pointing out the issues with the Russian justice system. And play Madonna was a big moment since it is such a famous person, but it felt believable.


 Erin Bednarz (Nadya) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Erin did such an amazing job. she made Pussy Riot relatable and believable plus you really felt for them as actual human beings rather than just characters.


 Erin Bednarz (Nadya) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Heartfelt, convincing performance.


 Jesse Parce (Putin/Peytr) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

a very necessary character and very hard to pull off such a famous/well known person. he was a dead ringer for putin. they aren't asking for it to be scored but he did a great job helping out with the music cues as the cello and some other things.


 Joshua Hamilton (Sergei) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Joshua gave a fantastic portrayal of Sergei. His performance was heartbreaking. His nuanced approach to the character made him relate-able and likable. And yet, while he made you root for him and cheer him on, he made you want to scream at him for his ultimate choice that took his gift away from the world. This is one of those performances that will linger in my mind for a long time. Bravo.


 Joshua Hamilton (Sergei) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

the most quiet character in a loud show but the most remarkable. he was the forgotten arrestee that got arrested when Pussy Riot did. He really moved the show's narrative along. his food strike was so believable, it really felt like he was deteriorating on stage in front of our eyes. One of his best moments was when he was asked why he cared so much about history. this was a question that was asked of him a lot since he always used history to explain current events. but he replied "history is complicated, history is present" and looked down at his shackles. what a moment!


 Kait Mahoney (Prosecutor/Russian Language Prof) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

the puppet scene (opening statement) was so funny! to me that was her best moment. Kait did an excellent job as the prosecutor who was so caught up in the "Russian" way of doing things that it was a little evil.


 Kirsten Deane (Judge) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Greene towered over the proceedings on stilts, perfectly costumed so she appeared to be either 16 feet tall, or perhaps floating in the air, with a voice powerful enough to fill the space and her towering place in it.


 Kirsten Deane (Judge) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

she was so believable as the judge. so bureaucratic and in some ways evil.


 Mandy Rose Nichols (Devout Woman/Lieutenant) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

So believable as the guard lieutenant. the devout woman was a perfect counterbalance to pussy riot.


 Matthew Reed (Musician) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

wow he did so much musically by himself. the show really relied on his sound cues to keep the story moving.


 Other/Final Comments WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Phenomenal theater, showing what true art collaboration can bring!


 Other/Final Comments WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Very well put together production! I liked how the space was used - it was immersive and you could submerge into the experience


 Other/Final Comments WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

what a great show! very relevant. i liked that it was bit confusing with can we film or not seeing as that was the whole point. why have a law to be able to protest and then get arrested for it? there were some great quotes in this show like how you have to be loud and on the internet to make change or as they put it "buy real estate in your mind." i liked the concept of good vs. heard. Everyone kept saying Pussy Riot was a terrible musical group and they said that was the point and that they would rather be heard. The use of the masks was amazing. it was so powerful when the actors took them off or had them taken off. i liked how they kept saying this isn't theatre, this is real and then at the end when you were so emotionally invested in the story and characters, they ended with "it's just theatre don't be so emotional." the theme of church vs state and democracy and us-Russia relations are obviously such relevant themes with what is going on right now. i loved that Pussy Riot kept saying "fun can be a revolutionary act." it was so powerful to hear that when they were on trial and so scared. i think the moment that stuck out the most was when the guard who was so pro church and Russia gave Sergei a chocolate bar after he had been starving himself for so long. it was such a touching moment to see the guard have that humanity. he told him that he promised to eat if it was chocolate and Sergei was so moved by the act. Something so simple was such a big moment and i think it really is the perfect symbol for the whole show.


 Sango Tajima (Katya/British Feminist Lecturer) WE ARE PUSSY RIOT OR EVERYTHING IS PR  - Theatre Battery

Handled both roles nicely. Pointed, steady, and inspiring as Katya.


 Alex Garnett (Larry) Burn This  - Theatre22

It's hard not to love the role of Larry, and Mr. Garnett was no exception. He was hilarious and charming, but also touching as a truly empathetic friend. I wanted more of him even after the show was over.


 Alex Garnett (Larry) Burn This  - Theatre22

really helped center the play as the best friend/roommate


 Alex Garnett (Larry) Burn This  - Theatre22

Truly excellent performance. Perfectly understated and also uniquely flamboyant. I complete believed you in every moment. The text was owned and embodied.


 Carolyn Marie Monroe (Anna) Burn This  - Theatre22

Beautiful ballet training and poise. I felt the grief stricken dancer in her finding healing through her art.


 Carolyn Marie Monroe (Anna) Burn This  - Theatre22

fully embraced the dancer aspect of the character in how she held her body and her movements. her grief felt very real as it went through the different levels60 (anger, acceptance, etc)


 Carolyn Marie Monroe (Anna) Burn This  - Theatre22

Ms. Monroe gave a solid and impressive performance as Anna. The emotional range required was huge, but she filled the role admirably.


 Carolyn Marie Monroe (Anna) Burn This  - Theatre22

She does emotionless and Noir well. Even when she was happy she looked sad.


 Comments (Costume) Burn This  - Theatre22

The costume design was lovely. The character looks walked a nice line between very rooted in the time and place and timeless.


 Comments (Costume) Burn This  - Theatre22

the costumes really fit the characters and their personalities. they also showcased their differences and that the time period was in the 1980's. For example, Larry's clothing was "ridiculous," and matched his personality perfectly. Anna's costumes were reflective of her persona as a dancer. She seemed comfortable in the clothes, which made you really feel like she was at home. The legging/dress combo was perfect for the funeral.


 Comments (Lighting) Burn This  - Theatre22

one of the best elements in the show. the lights were very simple but really set the tone and atmosphere of the play. the use of the light with window to help show the passage of time and different times of day was striking


 Comments (Lighting) Burn This  - Theatre22

Some of the best lighting I have ever seen. Buhmann's design perfectly captured the tone of each scene, while working harmoniously with Toomey's set throughout the whole performance.


 Comments (Lighting) Burn This  - Theatre22

The lighting design was truly outstanding. The windows were lit beautifully, which brought the whole set to life. When Pale went out on the fire escape to smoke his cigarette, I truly believed he was out on the fire escape and worried for his safety. That's such a rare and magical moment, to find yourself fully suspending your disbelief.


 Comments (Scenic) Burn This  - Theatre22

The look of the apartment is definitely a place you would want to live. Stainglass window was a great way to make it look and feel like NY and give the lighting designer a toy.


 Comments (Scenic) Burn This  - Theatre22

I saw this set and I was like, Margaret Toomey had to have done this set...and sure enough, she had!!


 Comments (Scenic) Burn This  - Theatre22

one of the best elements in the show. i really liked that it was its own world which supported the relationship the roommates had. i also liked all the details in the set like the ballet barre.


 Comments (Scenic) Burn This  - Theatre22

The glass wall and open windows - yes yes yes. Beautiful clear space. I absolutely believed this was a dancers apartment.


 Comments (Scenic) Burn This  - Theatre22

The scenic design was impressive and coordinated beautifully with the lighting design.


 Comments (Sound/Music) Burn This  - Theatre22

cues were real and specific to the time period (the use of 80's music to show that it was the 80's). the mix of music and sound cues were blended well. the use of the new year's radio message showed when Act II started.


 Comments (Sound/Music) Burn This  - Theatre22

Effective original music, well composed and in service to the play


 Comments (Sound/Music) Burn This  - Theatre22

The music for the play was memorably perfect. The effect of the saxophone was so fitting it helped create some of my favorite moments.


 Defining Moment Burn This  - Theatre22

I truly loved the opening moment of the play. The melancholy wail of the saxophone, the beautiful lights up through the window, and this grieving woman in black looking out the window all formed a truly evocative opening moment that immediately pulled me into the world of the play.


 Defining Moment Burn This  - Theatre22

Pale shivering in his underwear under a caftan as Anna comes to comfort him. It was so real, beautiful and vulnerable.


 Defining Moment Burn This  - Theatre22

Pale walking out in Anna's short red Japanese dressing robe,with fantastic drunk, sex, bed head.


 Defining Moment Burn This  - Theatre22

Pale's entrance


 Defining Moment Burn This  - Theatre22

Standoff between Pale & Burton


 Defining Moment Burn This  - Theatre22

The beginning of the show when Anna was first introduced. She was on stage in low light smoking.


 Defining Moment Burn This  - Theatre22

The entirety of the second scene of the first act. Truly some of the best acting, pacing, and directing on one of the most beautiful sets I've ever seen.


 Defining Moment Burn This  - Theatre22

The staging opportunity for the actors to go out on the balcony. What a great stage picture!


 Defining Moment Burn This  - Theatre22

The whole opening scene consisted of some of the most natural exchange of dialogue between characters I've ever witnessed onstage. It was true acting craftsmanship at work, and it was beautiful.


 Defining Moment Burn This  - Theatre22

Tim Gouran's entire performance was incredible.


 Defining Moment Burn This  - Theatre22

Tim had a subtle shift the first time Carolyn told him his brother liked him the best. The pain of that reality crossed his face before he quickly covered. That was indicative of Pale's struggle to hide his feelings - a journey that I found totally captivating.


 Defining Moment Burn This  - Theatre22

When Anna “tucks” him in on the sofa


 Defining Moment Burn This  - Theatre22

when Anna began to realize that her heart will win - not her head.


 Jason Sanford (Burton) Burn This  - Theatre22

Burton really found his power during the martial arts scene.


 Jason Sanford (Burton) Burn This  - Theatre22

Dapper and effortlessly charming, it was easy to believe Mr. Sanford as a man who had never lost anything.


 Other/Final Comments Burn This  - Theatre22

Pale kissing Anna goodbye. Unforgettable.


 Tim Gouran (Pale) Burn This  - Theatre22

A flawless, riveting, deeply complex and captivating performance. The best acting I have seen in all of Seattle and maybe ever. Complexity of emotions, complete embodiment, electric.


 Tim Gouran (Pale) Burn This  - Theatre22

I am mesmerized by every one of his performances.


 Tim Gouran (Pale) Burn This  - Theatre22

I did not like this character, but Tim put everything into it. I believed that he was drunk, doped up, confused, lonely, and angry. Great performance.


 Tim Gouran (Pale) Burn This  - Theatre22

Mr. Gouran as Pale was a force of nature. He was raw and scary and appealing and everything the role demanded without ever feeling forced or calculated. He truly brought Pale to life in front of us.


 Tim Gouran (Pale) Burn This  - Theatre22

very compelling and raw


 Agastya Kohli (Ali) Happiest Song Plays Last, The  - Theatre22

Excellent, convincing, multi-dimensional portrayal.


 Agastya Kohli (Ali) Happiest Song Plays Last, The  - Theatre22

I believed him. His confession of nationality/heritage was simple and true and understated.


 Comments (Ensemble) Happiest Song Plays Last, The  - Theatre22

This cast must work in two equally important units until the very end and they did!


 Comments (Scenic) Happiest Song Plays Last, The  - Theatre22

The use of projections was strong, creative and really set us up for each act. The top of Act I were scenes and well connected sound of resistance and revolt. The top of Act II was family and a memorial to Agustin. The Personal is Political and visa versa. Well connected the narrative and themes.


 Defining Moment Happiest Song Plays Last, The  - Theatre22

A beautiful moment of the PTSD afflicted soldier trying to bury the passport of the first man he killed.


 Defining Moment Happiest Song Plays Last, The  - Theatre22

Elliot frozen, unable to move, as he tries to bury the passport


 Defining Moment Happiest Song Plays Last, The  - Theatre22

Skyping scenes between Yaz and Elliot - well paced and believable
Scenes between Lefty and Yaz - so affecting


 Defining Moment Happiest Song Plays Last, The  - Theatre22

the appearance of Augstine as a ghost


 Defining Moment Happiest Song Plays Last, The  - Theatre22

The conversation between Elliot and Ali about the passport


 Defining Moment Happiest Song Plays Last, The  - Theatre22

The first movie scene really is where I first really connected.


 Defining Moment Happiest Song Plays Last, The  - Theatre22

The letter being read by Elliott as Ali spoke the words - the concept of "carrying one's ghosts" and the personal responsibility that entails.


 Defining Moment Happiest Song Plays Last, The  - Theatre22

The moment that keeps sticking in my brain was towards the end when Elliot reads the letter from Ali and has to take out the passport again. Ali's text and delivery were great, and the revelation of that object in Elliot's hands was effective.


 Defining Moment Happiest Song Plays Last, The  - Theatre22

The opening act's lighting projections are echoed at the top of act 2, but instead of seeing images of unknown protestors we are confronted with the face of Augustin, a character we have come to care deeply about.


 Defining Moment Happiest Song Plays Last, The  - Theatre22

The turn of the scenery at the very end to reveal the garden took my breath away. I wasn't expecting it at all!


 Defining Moment Happiest Song Plays Last, The  - Theatre22

The use of projection on the entire set. It was a lovely opener and provided beautiful imagery.


 Joshua Chessin-Yudin (Elliot) Happiest Song Plays Last, The  - Theatre22

A multi-faceted, detailed, and incredibly moving performance.


 Lexi Chipman (Shar) Happiest Song Plays Last, The  - Theatre22

Lexi needed portray an American actor playing a woman unlike herself but not unlike her relatives. She portrayed this contradiction/comparison with understated grace.


 Michael D. Blum (Augustine) Happiest Song Plays Last, The  - Theatre22

He was a wise elder and yet when he was sexy- it was not pitying or sad- his performance was very real.


 Other/Final Comments Happiest Song Plays Last, The  - Theatre22

I really enjoyed this show - a very powerful play, neatly staged in a lovely intimate setting.


 Other/Final Comments Happiest Song Plays Last, The  - Theatre22

One of the best new plays I've seen in years. The two cousin's stories were woven together seamlessly into a focused emotional message.


 Rich Hawkins (Lefty) Happiest Song Plays Last, The  - Theatre22

Beautiful, respectful work creating a homeless, mentally ill/developmentally disabled character who is a complex and heartful human being, not a cliché. Lefty was both believable and admirable. I was deeply moved.


 Rich Hawkins (Lefty) Happiest Song Plays Last, The  - Theatre22

I believed everything that came out of Rich's mouth or body. This is a role that could be comic in the wrong way. I felt for him and understood Yaz's choices concerning Lefty. Wonderful performance.


 Defining Moment Sings the Hits  - Theatre22

Hearing Melanie's song for the first time.


 Defining Moment Sings the Hits  - Theatre22

I super dug the song.


 Defining Moment Sings the Hits  - Theatre22

Seeing 4 women on stage together in conversation reminds me how hungry I am for that sort of thing, and for a cast that was 80% female.


 Defining Moment Sings the Hits  - Theatre22

Tae Phoenix singing the first song.


 Defining Moment Sings the Hits  - Theatre22

The combined song at the end of the show. Lovely.


 Defining Moment Sings the Hits  - Theatre22

The conversation between all four women toward the end of the show. It was a little obvious like "we're talking about the issue" but it still worked. And it was actually really powerful to hear 4 perspectives on sexual harassment in a room together, that all rang very true to real life. I took note of that conversation, and it had an impact.


 Defining Moment Sings the Hits  - Theatre22

The last song they sang, where the 2 female musicians collaborated while two other female characters were watching/listening.


 Defining Moment Sings the Hits  - Theatre22

The monologue with Grace was beautiful and moving, she acted it well and was captivating through the story. The monologue also was a glorious passing of the Bechdel test.


 Defining Moment Sings the Hits  - Theatre22

The song clip itself - mesmerizing


 Defining Moment Sings the Hits  - Theatre22

When Melanie sings


 Other/Final Comments Sings the Hits  - Theatre22

Enjoyed the trip into "numbers stations," the love story, and the very beautiful & haunting song clip.


 Other/Final Comments Sings the Hits  - Theatre22

I was impressed by this production. It is a very well crafted script that I believe will develop into something powerful. It is different than a lot of what I am seeing out there right now, and that's a good thing. It made me sit up and take notice.


 Rosaletta Curry (Grace) Sings the Hits  - Theatre22

Absolutely loved her charming and effortless performance.


 End of Season Comments Various  - Various

Amazing hard work onstage and off, as well as some incredible theatre being done in this city! Diverse and pushing boundaries.


 End of Season Comments Various  - Various

Arts West's Hedwig and the Angry Inch in rep with Lady Day at the Emerson Bar and Grill was an inspired combination and I am SO glad I got to see both shows.
Seattle Public Theatre's star continues to ascend, producing risky, thought-provoking theatre that makes you sit up and pay attention. SPT is coming into its own, actualizing it's potential in unforeseen ways and more folks need to take note.
Sandbox Radio never disappoints when it comes to showcasing the talents of local storytellers and artists. Each one-night show is a gem. Sure, you can listen to the recordings, but the live performances are pure gold.


 End of Season Comments Various  - Various

Breakout performance: Michael Krenning as Crutchie in Newsies (Village Theatre)

NON-eligible special mention: Penny McMillan-Hughes, Costume Designer for Shrek, The Musical @ Village Theatre Kidstage (on the Mainstage, Summerstock Production)


 End of Season Comments Various  - Various

Casting seems to be more diverse.


 End of Season Comments Various  - Various

Folks still have trouble starting on time!


 End of Season Comments Various  - Various

I enjoyed the increase of productions that were not about the dark secrets of upper-middle class white families. It was also encouraging to see POC cast in roles that are typically cast white (because, unfortunately, white is the default...which it shouldn't be, because it isn't).


 End of Season Comments Various  - Various

I feel that generally speaking this season was strong, with some notable exceptions but you can't have everything. I really felt that women's voices were being foregrounded in a way I haven't seen in my four years in Seattle, and I truly appreciated that.


 End of Season Comments Various  - Various

I love seeing more women and trans actors onstage!


 End of Season Comments Various  - Various

I love the diversity and representation I saw in this year’s season, from diverse subject matter to diverse casting. It made the season all the more richer.


 End of Season Comments Various  - Various

I saw more trigger warnings posted for shows this year than I think I've ever seen, which ruled!


 End of Season Comments Various  - Various

I've enjoyed how well many theaters' chosen productions have fit well with the overall theme of their company's season. It really makes these theaters stand out. I also greatly appreciate how certain theatre companies have focused on more than just racial diversity. Sound Theatre Company is a great example of this. This season I noticed they put an effort into casting actors who happen to have certain disabilities or are hard of hearing. I love seeing the wide range of talent we have in the Seattle area.


 End of Season Comments Various  - Various

Kudos to all those participating in the Seattle theatre scene in any way what so ever, for making Seattle such a great theatre city.


 End of Season Comments Various  - Various

The dancing in Newsies at Village was amazing. The inclusive, informative, and non-appropriative use of ASL in Sound's Midsummer Night's Dream was the connection of art and equity work at its finest.


 End of Season Comments Various  - Various

There was so much beautiful music direction this season that I'd love for it to be a category.


 Favorite Acting Performances Various  - Various

Sara Porkalob's Dragon Lady performance was haunting and magnificent. How she can fit so many people in her mind, and how she expresses them with such physical variety and sharpness, is astonishing. She's just consistently brilliant. Everything she says is profound, or hilarious or both.

Each performer in Hand to God was brilliant in their own way, and each performance was terrifying.

Lamar Legend is a genius and his performances in An octoroon was incredibly specific, while also being physically bold and over the top.


 Favorite Acting Performances Various  - Various

Hedwig and the Angry Inch at ArtsWest and Hairspray at Village Theater. Both were amazing productions and acting. I even saw Hairspray twice. The main actors who played Hedwig and Tracy were beyond amazing.


 Favorite Acting Performances Various  - Various

I loved all of the performances in Pride and Prejudice at the Seattle Rep. It was a hilarious show. However, I found Emily Chisholm to be the knockout of the show. Her comic timing is impeccable and I believed it all.

Jonelle Jordan in The Government Inspector at Shakes stands out as a solid, smaller, comic role.

The ensemble of The Wolves was incredible and, I felt, very even. That show easily sits in my favorites of the year.

Though I didn't love the show, I thought Frank Boyd in How I Learned to Drive was incredible. He has an amazing ability to be natural and relaxed in everything he does.


 Favorite Acting Performances Various  - Various

The Brief Wonderous Life of Oscar Wao- this was such a captivating show that at times it was easy to forget that it was a one man show.

The children acting in Too Kill a Mockingbird made the entire performance so much more special. They were compelling throughout the entire story.


 Favorite Acting Performances Various  - Various

The main character in Ironbonud at SPT. Most memorable actor I've seen this year.
Also, Chip Sherman in Dorian Gray was INSANE.