Selected comments left by Nominators in the 2018-2019 Season. Nominators are encouraged but not required to leave comments. The number of comments is not indicative of overall Nominator scoring. Please report any errors to tps@tpsonline.org.

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Number of entries: 3927
Prelude to a Kiss  - Strawberry Theatre Workshop
Comments (Lighting)

Lighting design helped to show that time was progressing and the difference between direct address to audience and conversation with other actors


 Prelude to a Kiss  - Strawberry Theatre Workshop
Comments (Lighting)

The best thing about the lighting is, I guess, how unnoticeable it was. Until the two big sfx moments of the play and they stuck perfectly, really helping to sell this fantastic element in an otherwise real life story.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Comments (Scenic)

It was impressive how the minimal set was able to transform into so many different locations.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Comments (Scenic)

Really effective, uncomplicated set. Each set piece was used to convey multiple pieces of furniture and other kinds of set dressing with a basic black and white scheme, which helps the versatility. The only reason its not higher is because I almost thought, as basic as it was designed to look, there was a lot of pieces that had to be moved and it seemed like it could have been a little more efficient.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Comments (Sound/Music)

All the music felt appropriate and period and the two big fantastical sfx moments in the play that had a sound effect, a sort of flashing as the souls switched bodies, was hit right on cue and really helped sell this fantastic moment in a real life play. The songs weren't original material but the songs that were curated fit very well.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

Actually, I would say it was the very first moment of the play. It starts off with a party atmosphere scene, or it was a dance club. With almost no technical assistance that I could notice, save for the song being turned up an ensemble of seven actors created a dance club packed with 50 people. Expertly blocked and lines delivered perfectly, we were transported. The play got off to a great start.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

Can I say the whole play? In case I can't, I adored the way Anastasia played Rita after the body swap. Her entire body, even her eyes and words, everything spectacularly conveyed the change without over-acting it or giving away too much about the story. It was such an exceptional performance!


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

I do not wish to give anything away, but the once I realize what happened, I admired the nuances of Anastasia and Galen's performance.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

Meeting the parents was anxious and hilarious


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

The beautiful final soul swap back into Rita's body - the actors intensity and the glow around them was chilling.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

The defining moment for me was the moment when the souls were transferred back to their original bodies. The text here is lovely and I was so desperate for this play to end happily that I wanted to high five everybody when this happened.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

The defining moment for me was the realization that Rita had switch bodies with Becker- it was so sudden and so subtle so it made the realization even bigger.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

The moment when Julius and Rita switched bodies.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

The recreation of the "kiss" moment, mirrored in the return - while they didn't kiss to return to their own body, the feeling was the exact same. It was impressive how that same emotion was recreated with light/sound/acting ect.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

The scene between Peter and Taylor was, oddly enough, the best scene of the evening.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

The soul switch moment was beautifully done as were the few moments when they first switch. The lights swirled and it was disorienting and beautiful.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

When Peter kissed Julius/Rita.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Defining Moment

When they switch back


 Prelude to a Kiss  - Strawberry Theatre Workshop
Galen Joseph Osier (Julius Becker)

The change from Julius to Julius/Rita was exceptional. Heartbreaking Rita.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Marianna de Fazio (Marion Boyle)

A wonderful WASP embodiment! The costume, the hair and voice. Well done!


 Prelude to a Kiss  - Strawberry Theatre Workshop
Marianna de Fazio (Marion Boyle)

good job overall.


 Prelude to a Kiss  - Strawberry Theatre Workshop
MJ Sieber (Peter)

mannerisms in beginning and the character's arc throughout. really played the awkward meeting and parent scenes really well.


 Prelude to a Kiss  - Strawberry Theatre Workshop
MJ Sieber (Peter)

MJ's enthusiasm is contagious and wraps around the entire play holding it in light and warmth.


 Prelude to a Kiss  - Strawberry Theatre Workshop
MJ Sieber (Peter)

Real, believable, grounded.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Other/Final Comments

great job by the whole to pull this off


 Prelude to a Kiss  - Strawberry Theatre Workshop
Other/Final Comments

I have basically the same note for all of the actors. All of them were so believable and real...it was actors that built this world and transported us to it. The fantasy elements were handled with the same emotional truth as the rest of the play. The themes of the play were handled delivered beautifully and they broke my heart several times, in a good way! As aware as I was with this play and the film adaptation, I had never actually read or scene any of them. Well done, all around!


 Prelude to a Kiss  - Strawberry Theatre Workshop
Other/Final Comments

I really enjoyed this show. Knowing about the mid rehearsal switch in show, the limited rehearsal time, the choice to keep the same cast from Reckless...I gotta say hats off to you all. Incredible work under those limitations.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Other/Final Comments

I was blown away by the story, and the actors. I can't believe the actors weren't cast for these roles initially. The theatre made a great choice to switch to this play. It was meaningful, heartfelt, and beautifully acted. The light and sound worked very well together, and the directing choices worked perfectly! I want to see it again!


 Prelude to a Kiss  - Strawberry Theatre Workshop
Other/Final Comments

Rita and Peter had a delightfully believable intimacy that shown through. Some truly lovely moments of falling in love and finding each other again.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Rachel Guyer-Mafune (Sue/Leah/Dorothy)

great character work. all very clear. her aunt was the best though. very funny.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Rachel Guyer-Mafune (Sue/Leah/Dorothy)

Would have liked to have seen more of what Rachel can do.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Ray Tagavilla (Dr. Marshall Boyle)

A wonderful and grounded embodiment and beautiful grounded portrayal of Dr. Boyle. A beautiful mix of humor and seriousness particularly in the scene where he arrives to pack Rita's suitcases and is confronted by Peter.


 Prelude to a Kiss  - Strawberry Theatre Workshop
Ray Tagavilla (Dr. Marshall Boyle)

amazing as always. Perfect comedic timing and very clear that he was playing an older man even though Ray is not technically the right age for the characters. Ray was so great in the meeting scene. I loved "alright, we approve" the bit about being overseas. Also in the wedding with "Jesus, I thought your hair was on fire."


 Prelude to a Kiss  - Strawberry Theatre Workshop
Ray Tagavilla (Dr. Marshall Boyle)

So funny, without any sense of trying to be.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Andrew Murray (Florian)

Fine dancer, singer, actor, comedian, presence. Yes!


 Princess Ida  - Seattle Gilbert & Sullivan Society
Callie Williams (Melissa)

Great comment, great spirit, great talent.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Cass Neumann (Scynthius)

Funny and agile.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Cass Neumann (Scynthius)

Great singing, dancing and fighting.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Chandler T. Thomas (Cyril)

Fine actor, dancer, singer, personality. Wow!!


 Princess Ida  - Seattle Gilbert & Sullivan Society
Christine Riippi (Arac)

A sexy amazon who pummeled her male opponent during the great fight choreography. A strong singer, dancer, slayer.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Christine Riippi (Arac)

Christine's work is always a highlight of any show for me. She wiggled her mustache and fought with comic flair.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Christine Riippi (Arac)

Funny and agile.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Colin Brisky (Hilarion)

Beautiful singer and we could understand every word and nuance. Fine actor, dancer. He has it.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Choreography)

Creative, original and appropriate, in character and delightful.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Choreography)

the simultaneous 3 fights were funny and very entertaining.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Costume)

Amazing, with the little touches of spats that get removed and the funny mustaches, but the authenticity of "something" at the same time. Funny but real but creative.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Costume)

Costumes were fabulous. All sorts of rich colors and fabrics and they were executed very well.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Costume)

The costume design by Doris Black added to the lush feeling of this period piece.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Direction)

Beautiful stage pictures. Scenes flowed into each other with ease. Great pace. Excellent work.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Direction)

Crystal Dawn Munkers did a fabulous job directing and choreographing this show.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Direction)

The direction and choreography, same person, were imaginative, inspired, and great. Also, the troop performed it perfectly, hitting all elements as a troop, chorus, dance team. Kudos!!!


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Ensemble)

Flawless, couldn't be better. What talent!!!!!


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Lighting)

Ahren Buhmann lit the set and actors beautifully.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Lighting)

The jewel tones at the end of Act II were especially pretty.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Overall Production)

This production was extremely well done. It was fun, great to listen to and look at, and a real hit with the audience.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Scenic)

Bill Forrester expertly designed a minimal, yet very effective set that was very pretty to look at when combined with the lighting.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Scenic)

Gorgeous set. I especially enjoyed Act II's setting. It was colorful and felt very scholarly.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Comments (Scenic)

The movement of furniture was creative and excellent. The look was simple but very fine.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Defining Moment

A standout scene for me was when three warrior maidens trounced three men. The fight choreography by Lee Ann Hittenberger was really fun with lots of well-staged movement coming daringly close to the open orchestra pit.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Defining Moment

I enjoyed the Keystone Cop clowning of Princess Ida's "brothers", particularly the scene in which they reveal themselves to be women and then take on the men in hand-to-hand combat. Topsy turvy silliness at its best.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Defining Moment

In spite of her small role, Karin Terry shined extremely brightly every time she was on stage. As one-third of the comedic trio of soldiers, her performance was a masterclass in character movement.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Defining Moment

Seeing Act 2 - the Women's university. The set was lovely and so were the costumes

I also liked the soldiers marching in Act 1


 Princess Ida  - Seattle Gilbert & Sullivan Society
Defining Moment

Stunning combination of Costume, Light, music and voices creating a surprisingly relevant work.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Defining Moment

The costumes were quite wonderful.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Defining Moment

The finale of Act II with most of the cast onstage in beautiful formation, singing their hearts out.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Defining Moment

This was a solid musical, and they did everything "right" but if I can be totally honest, it wasn't very memorable to me so I am having a hard time with this question. Memorable or defining moments...well, I remember a lighting change that happened during Ida's first song at the top of Act 2. I also loved the conductor.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Defining Moment

When the first choreography is evident, it is so polished and bright that you know your in good, hands.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Hayley Gaarde (Psyche)

Hayley has a beautiful voice and an amazing presence. It was such a joy to see her use it.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Hayley Gaarde (Psyche)

Very funny actress, very talented .


 Princess Ida  - Seattle Gilbert & Sullivan Society
Karin Terry (Guron)

Funny and agile.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Karin Terry (Guron)

One of the trio of warrior maidens who performed a wonderful fight sequence, especially Karin's part spinning round and round with her opponent very near the edge of the open orchestra pit. Fun and fearless!


 Princess Ida  - Seattle Gilbert & Sullivan Society
Lindsey Nakatani (Princess Ida)

Gorgeous voice. I could listen to her all day.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Mark Rabe (King Gama)

Mark is a wonderful comic actor. When his character brought out the oversized fan, I laughed. Great character work. Loved it.


 Princess Ida  - Seattle Gilbert & Sullivan Society
Mark Rabe (King Gama)

One funny, talented guy, fine singer actor, dancer, mover


 Princess Ida  - Seattle Gilbert & Sullivan Society
Other/Final Comments

The Seattle Gilbert & Sullivan Society has produced a great show that the audience loved!


 Princess Ida  - Seattle Gilbert & Sullivan Society
Other/Final Comments

The talent in this show was incredible and the coordination by the director choreographer was beyond amazing.


 Queen  - Pratidhwani
Archana Srikanta (Sanam Shah)

An excellent performance from Archana. I enjoyed her work immensely, and she kept me engaged throughout the performance.


 Queen  - Pratidhwani
Archana Srikanta (Sanam Shah)

Fantastic performance! Hard to believe this is Archana's theatrical debut, she is a natural. Can't wait to see more from this talented actor!


 Queen  - Pratidhwani
Comments (Costume)

Contemporary clothes; all done in character.


 Queen  - Pratidhwani
Comments (Ensemble)

I believed them. They sounded and acted naturally, as I would expect it to be in life.


 Queen  - Pratidhwani
Comments (Ensemble)

This cast worked together nicely- great timing, and an emotional connection between them all that rang true. The two leads, Isis and Archana, had a particularly good chemistry as longtime friends and research partners.


 Queen  - Pratidhwani
Comments (Playwright)

This playwright brought up extremely important questions. Her research into the questions posed seemed to be right on target.


 Queen  - Pratidhwani
Comments (Scenic)

It was very inventive the way the sets were changed for the various scenes.


 Queen  - Pratidhwani
Defining Moment

"Want to come back to my lab and look at my research?"—Best pickup line ever.


 Queen  - Pratidhwani
Defining Moment

Agastya's curtain speech - welcoming, warm, funny, charming, and informative. He is a great speaker!


 Queen  - Pratidhwani
Defining Moment

All of it. Every element was carefully thought of and fully developed. The acting was strong, the designs were practical but creative - it was a package deal.


 Queen  - Pratidhwani
Defining Moment

Sanam and Arvind's dinner conversation about poker--I loved the intellectual back and forth of two intelligent minds who have taken two very different paths in life.


 Queen  - Pratidhwani
Defining Moment

The opening scene. From the get-go, the two lead female actors created a world of equal parts friendship, loyalty, and academic pressure that drew the audience in, and made us root for both of them the whole way through!


 Queen  - Pratidhwani
Defining Moment

The part I felt most engaged and invested was the moment both Ariel and Sanam decided not to publish and turn on Hayes. I think the actors and director navigated the quick pivots and slaloms throughout the scene well, and I felt myself lean forward as the scene developed.


 Queen  - Pratidhwani
Defining Moment

The sex scene with no kissing.


 Queen  - Pratidhwani
Defining Moment

When Ariel holds the bees up to the light and Sanam swallows her own fear of them just enough to move closer and see them overcoming and thriving.


 Queen  - Pratidhwani
Defining Moment

When the two women both switched their original positions to the ethical and "right" position.


 Queen  - Pratidhwani
Defining Moment

When two of the characters become intimate in the hotel room. Pure and moving.


 Queen  - Pratidhwani
Other/Final Comments

A moving, uplifting performance with excellent work done by some relatively new actors-- a refreshing and exciting production!


 Queen  - Pratidhwani
Other/Final Comments

I highly recommend theatre goers to see this play. It's at the ACT Lab and is one of the best productions I have seen there.


 Queen  - Pratidhwani
Other/Final Comments

The show was a total delight for me. Lots of twists and turns in the plot and an enjoyable resolution.


 Queen  - Pratidhwani
Other/Final Comments

This was an amazing show! Well done!


 Queer, Mama. Crossroads  - Annex Theatre
Comments (Choreography)

When the three characters dance together and share their wounds, it was lovely


 Queer, Mama. Crossroads  - Annex Theatre
Comments (Lighting)

spectacular lighting, so well timed to enhance the action


 Queer, Mama. Crossroads  - Annex Theatre
Comments (Scenic)

I liked the simplicity of the three spaces. And each space had a unique personality. Nice.


 Queer, Mama. Crossroads  - Annex Theatre
Comments (Scenic)

very detailed, you got a lot of understanding of the characters lives just through the sets. The triptych set up was a great way of showing three different stories


 Queer, Mama. Crossroads  - Annex Theatre
Comments (Sound/Music)

The music choices were amazing!


 Queer, Mama. Crossroads  - Annex Theatre
Defining Moment

Gunshots and a horrible, wheezing scream from the character who has been agonizing throughout the play--we understand what has been going on the whole time.


 Queer, Mama. Crossroads  - Annex Theatre
Defining Moment

Lighting shift after the three main characters are shot.


 Queer, Mama. Crossroads  - Annex Theatre
Defining Moment

The caution tape sequence towards the beginning of the show.


 Queer, Mama. Crossroads  - Annex Theatre
Defining Moment

The first gunshots.


 Queer, Mama. Crossroads  - Annex Theatre
Defining Moment

The first time the veiled woman said "I see you", to Invisible, was incredibly powerful


 Queer, Mama. Crossroads  - Annex Theatre
Defining Moment

The three characters getting shot after personal stories was striking.


 Queer, Mama. Crossroads  - Annex Theatre
Defining Moment

The use of music during the ritual aspects of the play.


 Queer, Mama. Crossroads  - Annex Theatre
Defining Moment

When all three of the characters are dancing around and then all of a sudden you hear gunshots and see them fall to the floor.


 Queer, Mama. Crossroads  - Annex Theatre
Defining Moment

When all three victims started dancing in their daily routines and suddenly we hear the sound of gunshots and their bodies falling. It was effectively jarring going from one extreme to another.


 Queer, Mama. Crossroads  - Annex Theatre
Defining Moment

When the Guide first appeared. It totally changed the feeling in the room. Akua's presence in that role was really something to behold. They commanded the whole space in a very powerful way, and I couldn't take my eyes off them. I knew then that something interesting was about to happen.


 Queer, Mama. Crossroads  - Annex Theatre
Jalayna Carter (Ansister)

Tough part. Committed throughout.


 Queer, Mama. Crossroads  - Annex Theatre
Naa Akua (Guide)

Strong focus and movement.


 Queer, Mama. Crossroads  - Annex Theatre
Other/Final Comments

This show embodies what I enjoy most about Annex Theatre. They DO the thing. It may not always work, but no matter what they're doing, they're doing the hell out of it. I am very glad I saw this show.


 Queer, Mama. Crossroads  - Annex Theatre
Other/Final Comments

The ritual witnessing/recognizing was beautiful to watch.


 Returning the Bones  - Book-It Repertory Theatre
Comments (Costume)

The costume perfectly evoked the child Bebe, but also worked well for all the other characters.


 Returning the Bones  - Book-It Repertory Theatre
Comments (Direction)

A moving production. Great use of levels, creative sound and lighting, and a knockout performance combined expertly by the director.


 Returning the Bones  - Book-It Repertory Theatre
Comments (Direction)

The transitions from scene to scene and between characters was flawless! I was actively present and engaged for the entire show. The story telling held me tight the moment the house lights lowered.


 Returning the Bones  - Book-It Repertory Theatre
Comments (Direction)

What a wonderful job directing. The play absolutely hummed, not a wasted second. The use of space was particularly striking - I never felt that the actress was consumed by the space, quite an accomplishment considering it's a one woman show and the Erickson theater is fairly large.


 Returning the Bones  - Book-It Repertory Theatre
Comments (Lighting)

Creative use of lights to indicate the train ride!


 Returning the Bones  - Book-It Repertory Theatre
Comments (Lighting)

Flawless design, perfectly composed. Loved how there were a *ton* of cues and it all flowed perfectly.


 Returning the Bones  - Book-It Repertory Theatre
Comments (Overall Production)

Everything about this show was just about perfect: from the writing to the performance, to the sparsity of the sets.


 Returning the Bones  - Book-It Repertory Theatre
Comments (Scenic)

So simple, yet so effective.


 Returning the Bones  - Book-It Repertory Theatre
Comments (Scenic)

This simple stage worked beautifully to showcase the talent. Had a combined modern feeling with the feeling of an ancient Greek set. The window frame design above both boxed the actor in and provided a view into her world. The scrim captured the light beautifully and almost felt like a second presence in the performance, changing with the mood of the performer.


 Returning the Bones  - Book-It Repertory Theatre
Comments (Sound/Music)

The pieces chosen matched the production beautifully and were period-appropriate. I especially enjoyed the dance scene piece - can't think of the name now but I believe the word hot was in the chorus.


 Returning the Bones  - Book-It Repertory Theatre
Comments (Sound/Music)

The sound design was another highlight of many for me in this production. Perfectly conveyed the time frame, and helped underline key moments.


 Returning the Bones  - Book-It Repertory Theatre
Defining Moment

A defining moment for me was when Gin was speaking to her brother on stage before he passed away. That moment was so real and heart felt that I was able to be fully present alongside Gin in that moment. I felt as if I knew her brother and could see him on stage. In that moment I was whole-heartedly welcomed into her story and it was truly an incredible experience.


 Returning the Bones  - Book-It Repertory Theatre
Defining Moment

Carolyn's tour of Auschwitz was very powerful.


 Returning the Bones  - Book-It Repertory Theatre
Defining Moment

Gin's first transition of character - it was performed in a perfectly crisp, intellectual, and quick way - you knew you were in the right hands for this production.


 Returning the Bones  - Book-It Repertory Theatre
Defining Moment

Gin's transformation into Eleanor Roosevelt. I even think Gin physically became Eleanor Roosevelt.


 Returning the Bones  - Book-It Repertory Theatre
Defining Moment

I just adored the dance scene.


 Returning the Bones  - Book-It Repertory Theatre
Defining Moment

So many!
When her brother passes, the dancing, the closing with the bones.


 Returning the Bones  - Book-It Repertory Theatre
Defining Moment

The shifting lighting design as she looked at the bones at Auschwitz.


 Returning the Bones  - Book-It Repertory Theatre
Defining Moment

The tour of Auschwitz scene.


 Returning the Bones  - Book-It Repertory Theatre
Defining Moment

When Bebe travels to the Auschwitz death camp and learns about the atrocities that occurred to millions of Jews and other minorities and how that began to change her view on the world.


 Returning the Bones  - Book-It Repertory Theatre
Defining Moment

Wow, SO CLEAR. Each character was distinctive from the other in every possible way. Gin had a great use of body and voice


 Returning the Bones  - Book-It Repertory Theatre
Gin Hammond

A beautifully orchestrated performance by Gin Hammond. I absolutely couldn't stop watching her. Her physicality, miming, facial expressions, accents, emotional range - everything was spot-on. So often I felt like I was watching two people at the same time - my brain was having difficulty comprehending that the same person was, in fact, playing the two people. An uncanny, riveting, and poignant performance.


 Returning the Bones  - Book-It Repertory Theatre
Gin Hammond

Hard to take away a single point from Gin. Absolutely mesmerizing.


 Returning the Bones  - Book-It Repertory Theatre
Gin Hammond

I really hate using the word perfect - but this was as perfect a performance as you could find. Every one of the characters - even the ones who only appeared for a few moments - were fully realized. I could tell them all apart. Phenomenal. I loved her Eleanor Roosevelt the most! And the transitions between character - I can't emphasize how HARD that is to pull off, and she did - easily.


 Returning the Bones  - Book-It Repertory Theatre
Gin Hammond

The first moment Gin changed her body, face, and voice to transform into a new character I was blown away. I was consistently amazed by how one women could portray such a variety of characters so seemlessly. By the end of the show I felt as if I had see a production with 10+ different actors. Truly exceptional throughout.


 Returning the Bones  - Book-It Repertory Theatre
Gin Hammond

This was an exceptional performance. Doing what Gin did takes so much skill and courage but looked absolutely effortless.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Betsy Schwartz (Elizabeth)

good job overall


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Actors)

I thought Lisa Norman was an exceptional supporting actor in this piece. She stood out to me more than some of the other listed supporting actors.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Choreography)

Lovely final battle scene and addition of onstage violence, especially with Richard's nephews. Horrifying but not so much that I was removed from the story.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Choreography)

movement of bringing on RIII and the other leader was very cool.

overall, the choreography and movement was amazing and really supported the director's vision and enhanced it. loved the drumming/expedition movement as well


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Choreography)

that final fight scene was amazing and all the muder execution scenes were so good. i loved that the assassins at the beginning were more messy than some of the other cleaner kills.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Choreography)

The "puppetry" using first Richard and then Richmond as leaders being manipulated by time/history in the shape of the cast was very impactful. The war at the end was also really well choreographed.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Choreography)

The addition of taps in actors' gloves made for aurally and visually exciting combat.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Choreography)

The war at the end, the strangling of Prince Edward and the murder of Young York were all very well done.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Costume)

It's hard to work with primarily one color but the costumes were pulled off well. I really enjoyed Richmond in white at the end. Beautiful costume.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Costume)

loved the all black base but it was very clear who had power/money/authority based on small accessories. really liked that only one wore white and their army in the end had white accents. the gloves that were playable and used as swords were really cool. also use of pipes as weapons was a unique and cool idea.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Costume)

The costumes fit the show. There was not the same edgy brilliance in the clothing as for the set and lighting. Having the women characters in dresses helped with distinctions between what character the actor was playing. I would liked to have seen similar distinctiveness for the male characters, to help the audience differentiate between the characters being played by the actors. A positive example is the clothing worn by Mari Nelson and Porscha Shaw as the Murderers, differentiating them as the other male characters they played; the same for the clothing Chantal DeGroat wore as Hastings and as Tyrell. Telling between Lord Gray and Master Dorsett and the other characters those actors played was a little difficult.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Costume)

This is some of Tschirgi's finest work yet. She executed her concept for the wardrobe in this show with ease. Not only were her pieces a feast for the eyes, but they were perfect visual representations for each character in this cutthroat world of Richard III's England. I can't wait to see what she does next.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Direction)

Joshi's comprehensive and timely vision is evident in the stark set, sombre costumes and stunning lighting that combine to create a stunning chiaroscuro backdrop against which Richard weaves his web of deceit, manipulation and lies; the whole an all too familiar echo of today.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Direction)

Rosa Joshi is fucking brilliant - full stop. Upstart Crow Collective is a treasure. More, 'ods Blood!!


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Direction)

The director has a subtle and very detailed mind.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Direction)

The second act of Richard III was the clearest, most concise, and thrilling versions of this play I've ever seen. It positively hummed. There were numerous choices that made everything crystal clear. The pictures were clean, and numerous moments are still resonating in my head.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Direction)

this was amazing. each moment felt necessary and like a meal in which i was totally engaged the whole time and always wanting more. everything from a simple breath in the ghost scene to the director finding the humor in RIII's scheming and the politics. The use of the flashlight to spotlight RIII and the other ruler in end. The use of the playable set and just everything was so amazing. I really loved having RIII in the background with Buckingham after he took the throne and having the consequences playing out in front of them.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Ensemble)

AMAZING JOB!!


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Ensemble)

An incredible cast that trusted one another and created a new version of this amazing story that enthralled me.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Ensemble)

I actually saw this show twice, which gave me a chance to see and appreciate the ensemble work more - the first time, Sarah Harlett as Richard III took most of my attention. The second time I was able to see how smoothly the ensemble moved from scene to scene, character to character.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Ensemble)

spectacular ensemble work, very tight.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Lighting)

the use of light was incredible - visibly pointing up Richard's villainy and how he thinks about what he's doing, the moments of prophecy by Margaret and the Duchess of York's, the executions and the exit of each ghost. Shadows. the shadows were incredible. The use of strong flashlights to show the inner thoughts of Richard and then Richmond/Henry 7, was brilliant.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Lighting)

A damn near perfect design that mixed in with the other
design elements wonderfully.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Lighting)

So many amazing moments/light looks!

-the opening with the flashlight and RIII becoming crippled with movement/choreo supporting
-shadow from flashlight when RIII at mic in the begining
-light changes for inner monologue and having RIII's face partially lit with the others in darkness
-the curse light cues
-Gray/Rivers murder LCs were so awesome
-execution lighting and transition to afterlife
-amazing lighting for when RIII ascended the throne
-the end light change where RIII was flashlight but then new leader was


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Lighting)

Very dark, which made it sometimes difficult to see, but the use of spots/flashlights was compelling.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Lighting)

while the flashlights were a bit visible, it was a very effective device. Especially good use of lighting for the asides


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Overall Production)

Rosa Joshi's R3 is a searing, punch-to-the-gut of a production. The scenic, sound and lighting design elements are so cohesively realized as to seem simple when they most definitely are not.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Scenic)

Absolutely stunning.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Scenic)

Effective use of minimalism, with definite statement piece elements. Loved the integration of set and sound (especially, but also set and lights - with the shadow).


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Scenic)

The best combination of concept and execution of design I've seen in a long while. Immediately striking, working in stunning harmony with the themes of the play. Perfect.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Scenic)

the set was playable! mind blown.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Scenic)

The simple set with the use of the twangy cables was lovely


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Scenic)

the spareness, the angles of the set, and the use of the boxes holding the wires down as percussion and string instruments was fabulous.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Scenic)

Very spare, but in a way where extraneous design was avoided. The use of the strings was particularly good.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Sound/Music)

integrating the strings on stage with the sound was a brilliant plan.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Sound/Music)

integration with the playable set and timing with light cues was flawless.

favorite moments
-eery back music when RIII was at mic in beginning
-curse LCs and SCs
-murder and execution scs

-drumming on the set with gloves pounding floor while sound cue overplayed


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Sound/Music)

Just....wow. The incidental and composed music was well done, but the use of the set to act as sort of a guitar/bass string - that's simply genius, I can't describe it any other way. It took me a good twenty minutes to figure out if the music was being done practically or if it was pre-recorded. The jarring, sharp sounds worked beautifully with the lighting and set. I loved this design.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Sound/Music)

The combination of the music of the set and the other music worked really well. Sound was precisely interwoven into the language and the emotions of the production.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Comments (Sound/Music)

The use of set pieces and digital sound scape created a world I loved to live in.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

Aimee hiding behind a set piece, PLAYING THE SET! AAAAH!


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

Every moment of darkness with the flashlight illuminating the face of Richard (or other character), especially when the light was coming from below, was breathtaking and made my heart stop for a moment. It felt like I was in their mind, hearing their innermost thoughts. I was riveted to the speaker and fully in the moment with them.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

For me the defining moment was the ghost chorus causing Richard's death. The blood, death, and pain he had caused to so many eventually took him down.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

Really this whole production was stunning. The choreography at the beginning was captivating.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

Richard's dream of the Ghosts circled around him was highly affective.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

Richard's opening monologue was incredibly striking. Not only did Hartlett perfectly embody the character in that moment, but the lighting was genius. The use of flashlights at just the right angles perfectly symbolized the dark inner workings of the character.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

The ensembles building of Richard's deformity at the top of the show.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

The first moment, seeing the lights illuminating the wires of the set, the wires being interacted with and played/strummed by the actors, and the resulting moody, minimalist environment everything tied together synergistically to create.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

the flashlight trained on Richard's face


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

The force of this production is so powerful, that like a tsunami, individual elements are swept up by such momentum - so, of the whole, that it's hard to single anything out.

That said, after this 15 round brawl of emotion, perhaps the last bit of Richmond, ascending the throne with all the hope of a war won, the "villain" vanquished. Suddenly the lighting changes (as it has to signal an inner monologue), a spotlight on his face, and we hear that Richmond too without a beat is gripped with the demon fear of losing the power just gained. And the cycle of insanity continues.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

The lighting and the set made this production particularly memorable, whether it was the lighting of Richard's soliloquies so that he became a grinning skull floating in darkness; or the set's diagonally strung cables that served as spiderweb, jail cell, gallows or even musical instrument.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

The multiple killings perfectly expressed through design, sound and sharp metphorical staging.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

there is a moment where Richard is now King and starts to turn, particularly on Buckingham, it was a brilliant moment where you can see the momentum of the play change for Richard, well done by all.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

There were many moments that resonate with me but three stuck out - the moment I realized Lady Margaret had been hanging out barely visible in the background at the beginning of the play, the beautiful wash of red at the end of the play, Richard's nightmare, and that killer ending moment. That's four, but what can I say, the production was that good.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

There were several, including all of the executions; Richard's moments of working to fool people and then pointing out to the audience how he is fooling them or is going to fool them; the use of light; the use of the set as a musical instrument. Richard knows what he is and uses it to the extreme.


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

This play ranks within my personal top three of the best best theater productions I have ever seen. This production grabbed me from the first light cue throughout the length of the show. Every element of this play - actors, costumes, sets, sounds design, lighting - was vital and pulled the audience in. Throughout the evening, you could hear reactions and almost unconscious verbal responses to what occurred on the stage - the audience lived in this production. Outstanding!


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

When RIII took the throne with a close second of RIII death and the incoming leader turning out to be the very same


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

When the “ghosts” of the people that Richard has killed encircle them while they’re sleeping and tell them to “despair and die.”


 Richard III  - Seattle Shakespeare Company; upstart crow collective
Defining Moment

When the dead came to haunt Richard during his dream on the battlefield, which was a great movement payoff after showing the dead rising and walking off into their death many times earlier in the performance. This highly stylized show did not always deliver on the text itself, but the movement was strong throughout.