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
Call, The  - Seattle Public Theater
Ayo Tushinde (Drea)

Ayo expertly played the confident, acerbic contrast to Annie's artistic insecurity and vulnerability. The relationship between Drea and Rebecca was so clear, and a joy to watch. Great work.


 Call, The  - Seattle Public Theater
Ayo Tushinde (Drea)

Ayo Tushinde has a very commanding presence in this role.


 Call, The  - Seattle Public Theater
Ayo Tushinde (Drea)

I loved this character so much. What she did with non-verbal communication was astounding. Fine, detailed work.


 Call, The  - Seattle Public Theater
Brenda Joyner (Annie)

Heartbreaking, strong, subtle, nuanced work. Just fucking REAL. Brenda gave herself over to this role so beautifully.


 Call, The  - Seattle Public Theater
Brenda Joyner (Annie)

The fight with Peter in the second half of the show kind of took my breath away. So very honest. It was as if I was watching two real people argue. Brenda took this character far and above what it might have been in less capable hands. A real woman with doubts and fears. Thank you for some fine work.


 Call, The  - Seattle Public Theater
Cobey Mandarino (Peter)

Cobey did a great job; bringing more to this character than others would have.


 Call, The  - Seattle Public Theater
Cobey Mandarino (Peter)

Complex work handled very deftly.


 Call, The  - Seattle Public Theater
Cobey Mandarino (Peter)

The fight with Annie in the second half of the show kind of took my breath away. It was as if I was watching two real people argue. Then, when the revelation came about Rebecca's brother, I was moved to tears. Thank you for some beautiful and honest work. One of the finest performances I've seen this year.


 Call, The  - Seattle Public Theater
Comments (Costume)

Loved that Ayo's hair was different in each scene. Liked that costumes felt like an extension of the characters.


 Call, The  - Seattle Public Theater
Comments (Costume)

while this wasn't a large scale costume design, I thought it well depicted who these characters are. Subtle, but accurate.


 Call, The  - Seattle Public Theater
Comments (Direction)

Sharp, precise direction. The pace was perfect and I never once felt the show lagged.


 Call, The  - Seattle Public Theater
Comments (Ensemble)

great flow...loved the crossed lines


 Call, The  - Seattle Public Theater
Comments (Ensemble)

This ensemble worked together like a well oiled machine. I imagined that these were real people, who had histories with each other, and were aware of each other's strengths and faults. Not a weak link in the chain.


 Call, The  - Seattle Public Theater
Comments (Ensemble)

Very strong ensemble work. Give and take and graciousness all across the board.


 Call, The  - Seattle Public Theater
Comments (Lighting)

Really liked how the stage was isolated for each scene.


 Call, The  - Seattle Public Theater
Comments (Scenic)

This set captured the lifestyle of this family incredibly well. It also did its best to bring us multiple locations, considering the small scale of the playing space in The Bathhouse.


 Call, The  - Seattle Public Theater
Comments (Sound/Music)

I liked in the museum, that the sound started loud then gradually faded to background.


 Call, The  - Seattle Public Theater
Defining Moment

I loved the 'live' feeling of the transition between scenes 1 and 2 -- I wish there were more transitional moments like this one.


 Call, The  - Seattle Public Theater
Defining Moment

I loved the moment Shermona was at the "gallery" her body language took us there immediately. Another defining moment for me was when the actors faced in opposition in the entrance way to the apartment, I believed this happened twice. It was beautiful and represented the struggles on each characters view of this adoption.


 Call, The  - Seattle Public Theater
Defining Moment

Peter and Rebecca's powerful and emotional confrontation/reconciliation at the end of the play had me in pieces.


 Call, The  - Seattle Public Theater
Defining Moment

Rebecca and Annie navigating the highs and immediate lows of discovering the child is older than expected.


 Call, The  - Seattle Public Theater
Defining Moment

That line about when the child is hurt, she isn't going to run to her (white) mother.


 Call, The  - Seattle Public Theater
Defining Moment

The gasp when they see the picture of the child, then the change when they think she's not 2 1/2, but 4. The thought process and emotional ups and downs continued.

Alemo: "You get stuck with your eyes looking back."


 Call, The  - Seattle Public Theater
Defining Moment

The opening of the play that began mid-conversation. You could just tell how comfortable these four characters were with each other. Also, the big argument at the end. It just felt so real.


 Call, The  - Seattle Public Theater
Defining Moment

The scene where Shermona Mitchell as Rebecca was attending an art gallery opening and the lights were only on her as she walked down an aisle and looked at the walls above the audience at the implied artwork wearing a long black formal gown was a stunning moment in this play.


 Call, The  - Seattle Public Theater
Defining Moment

The show did a phenomenal job at creating a real living-room discussion and atmosphere.


 Call, The  - Seattle Public Theater
Defining Moment

There really wasn't a defining moment for me with this play - other than the uncertainty at the end that the show was over and the audience should clap.


 Call, The  - Seattle Public Theater
Defining Moment

When Annie accepts to adopt the baby


 Call, The  - Seattle Public Theater
Other/Final Comments

A solid performance that explored several serious topics with a touch of humor.


 Call, The  - Seattle Public Theater
Other/Final Comments

I loved the script and how it evenly covered so many sides of the many issues discussed in the play. Perfect on so many levels. Thank you for an amazing afternoon of theater.


 Call, The  - Seattle Public Theater
Other/Final Comments

Overall good show!


 Call, The  - Seattle Public Theater
Shermona Mitchell (Rebecca)

Clear, strong, vulnerable, funny, warm, smart--Shermona's performance as Rebecca was just perfection. The passion and pain she gave into in the final scene had me absolutely shattered. Brilliant.


 Call, The  - Seattle Public Theater
Shermona Mitchell (Rebecca)

Shermona is a strong and steady actress that is a pleasure to watch in everything she does.


 Caught  - Intiman Theatre
Bradford Farwell (Bob)

Bradford is always great. Like always. Like actually. I loved his commitment when he had to lose it in the first scene. He had the white-guy indignation down perfectly, transitioning into total loss of rationality.


 Caught  - Intiman Theatre
Bradford Farwell (Bob)

Great physical acting down to the shaking and eye movement. hope to see him in more immersive plays!


 Caught  - Intiman Theatre
Bradford Farwell (Bob)

He did a fabulous white privilege thing. I thought I was going to have to come straight out of my chair when he accused Lin Bo, aka Fred Goldstein, of wanting to be a white guy. The physicality of this role was also executed perfectly


 Caught  - Intiman Theatre
Bradford Farwell (Bob)

Not a big part but made the most of his time on stage. Very easy to believe he was this character.


 Caught  - Intiman Theatre
Comments (Costume)

Believable apparel for a range of personality types, well chosen for the characters portrayed.


 Caught  - Intiman Theatre
Comments (Costume)

Like the direction, the costumes supported the normal absurdity of the whole thing. They looked like what people on the street would wear; Lin Bo's costume looked like what someone who was making up in their head what a "Chinese dissident" would wear. Wang Min's high heels killed me, the way she was stalking around the stage.


 Caught  - Intiman Theatre
Comments (Costume)

The costumes did a good job of representing each level of truth. It was like 3 different shows were costumed.


 Caught  - Intiman Theatre
Comments (Costume)

The costumes were completely on point. Everybody looked great, but very appropriate for who they were in that moment. I felt like I understood the characters better (particularly Joyce and Wang Min) based on what they were wearing. They felt like real people in their clothes, not costumed actors.


 Caught  - Intiman Theatre
Comments (Direction)

Everything just came together in a delightfully confusing, confounding way. Part of me would like to roll my eyes at this director and I'm sure it would be the ultimate compliment, as the desired effect, or what I perceived to be the desired effect of the play, was achieved. At times I wanted to climb the wall like the curator. Very well done, Ms. Chiang.


 Caught  - Intiman Theatre
Comments (Direction)

I loved the concept and execution of dipping in and out of real and absurd worlds.


 Caught  - Intiman Theatre
Comments (Direction)

It was fascinating to me how the performance became less and less theatrical as the show went on, yet every scene? segment? had moments of utter theatricality and almost absurdism, mixed in with the completely normal person-in-the-street conversations the characters were having with one another at the end. Desdemona Chiang did a fabulous job finding that normal, absurd, dramatic feeling in each section.


 Caught  - Intiman Theatre
Comments (Direction)

There were so many delicious times when I was unsure of where the play was going, but I felt confident that I would stay interested. Very deftly directed.


 Caught  - Intiman Theatre
Comments (Direction)

Very strong direction of a confusing show. Coaxed terrific performances out of a talented cast and kept a strong hand on guiding this strange mix of theater throughout the revealing of the story.


 Caught  - Intiman Theatre
Comments (Lighting)

Great lighting. Amazing use of the practical lighting in the theater, and the lighting is what signaled to the audience


 Caught  - Intiman Theatre
Comments (Lighting)

The lighting cues both helped us understand transitions, and aided in confusion in the best, most appropriate way to the piece. Combined with the music/sound design, these effects led in often in the right/wrong direction as required.


 Caught  - Intiman Theatre
Comments (Lighting)

Well crafted, in a non traditional space, to illuminate moments but did not overwhelm the audience with ambient lighting.


 Caught  - Intiman Theatre
Comments (Overall Production)

This was one of the best productions I've seen in a long time, and that include Barbeque that Intiman did a couple years back. The entire environment felt appropriate. The set was gorgeous; the arrangement of the space was engaging. Even though I knew something of what the play was about, I had no idea what was going on half the time, and my husband (the poor guy is my utter guinea pig) was completely fooled. There were elements of No Exit. It was a meta-meta-meta-metadrama. Wow!


 Caught  - Intiman Theatre
Comments (Scenic)

I adored the geometric designs on the wall and floor. The "art" was beautifully done. The seating was just grand. Having everyone looking across and through each other lent to the weird drama of the occasion - you could visibly see people wondering what the heck was going on.


 Caught  - Intiman Theatre
Comments (Scenic)

moved flawlessly from being art gallery - no 4th wall- to 'TED Talk' with slides, to editorial office to backstage


 Caught  - Intiman Theatre
Comments (Scenic)

The artwork on set and the painting of the floor was walls were exceptional. I cannot count the number of show I have seen in that space, and this design used the space in a way that really made me feel like I was in a room I'd never visited before.


 Caught  - Intiman Theatre
Comments (Scenic)

The artwork was inventive and very creative. Hard to have a favorite, but the most impactful was the upside down TRUTH sign.


 Caught  - Intiman Theatre
Comments (Sound/Music)

Along with the lighting, the music/sound design was paramount in signaling transitions, further adding to the deception of the piece.


 Caught  - Intiman Theatre
Comments (Sound/Music)

Just the right amount of everything, nothing overwhelming but all supporting.


 Caught  - Intiman Theatre
Defining Moment

A big point of this play is that there is NO single defining moment....or perhaps, that there are several. As an audience member, we don't know exactly. And that is why this play was very well done. There were so many memorable transitions, which only served to confuse the audience even more in the end, as intended.


 Caught  - Intiman Theatre
Defining Moment

At the end of the first vignette, when the journalist and publisher suddenly fall to the floor/across the desk, signaling that the story is not as straightforward as it first appeared, and that stories within the stories are about to be revealed.


 Caught  - Intiman Theatre
Defining Moment

In the first segment, when it first seemed like a traditionally structured play, I knew it was all about to change when the white characters started really losing it. When Joyce collapsed on the floor and Bob lost his composure entirely. It was subtle and sudden at the same time. I thought I was watching a very well-done play. At that moment I realized that something very different was about to happen, and I had no idea what it was, but I was riveted.


 Caught  - Intiman Theatre
Defining Moment

Probably the first false ending, when it was revealed this was a play within a play. The acting had become overwrought and surreal, then collapsed in on itself.


 Caught  - Intiman Theatre
Defining Moment

the 2 sweepers, followed by 2 actors eating sandwiches and analyzing their performance. Maybe it was 'over'?


 Caught  - Intiman Theatre
Defining Moment

The defining moment would be after the primary arc of the show was over and the New Yorker journalist goes up to interview the artist....and the audience suddenly realizes that the show is a series of nesting dolls....and there is much, much more to come! Gotcha! Caught!


 Caught  - Intiman Theatre
Defining Moment

The play within a play within a play within a... It was a roller coaster, and even though I've seen this show before, I was surprised.


 Caught  - Intiman Theatre
Defining Moment

The tableau with the three actors at the end of "scene 2", the art installation pieces, the laughter scene "scene 4", and the moment when the woman in "scene 3" walks through the newspaper and then out the door.


 Caught  - Intiman Theatre
Defining Moment

There was a great scene with a discussion/debate/argument between Narea and Jonelle in which you could feel the rising frustration within Jonelle as she tried to understand NArea's increasing obscure arguments against everything Jonelle said. Reminded me of college discussions and I could feel myself wanting to get into the debate!


 Caught  - Intiman Theatre
Defining Moment

When Justin Huertas was walking around the set after having his past be rewritten and pointed at different parts of the set. The layers of truth - the gallery, the artist that was dead, the art - were all being questioned at perhaps the most bare level yet. It was really funny too.


 Caught  - Intiman Theatre
Defining Moment

When the cast bowed and left at the actual very end of the show, I had to turn to the woman behind me and ask "is this really the end?"


 Caught  - Intiman Theatre
Defining Moment

When the lights came up on the audience in Part 4, and I couldn't tell if the show was over or still going!


 Caught  - Intiman Theatre
Jonelle Jordan (Joyce/Curator)

Strong, memorable performance. Naturalistic as needed but able to range stylistically as called for.


 Caught  - Intiman Theatre
Jonelle Jordan (Joyce/Curator)

As the New Yorker writer, and as the curator wandering the edges of her art gallery trying to find a way out of the No Exit hell she has found herself in, she was spot on.


 Caught  - Intiman Theatre
Jonelle Jordan (Joyce/Curator)

I felt her pain during Wang Min's monologue and climbing the walls was hilarious.


 Caught  - Intiman Theatre
Jonelle Jordan (Joyce/Curator)

Jonelle was also riveting. She and Narea are neck in neck for who had to work the hardest on this stage. She also had a lot of reality building to do to keep the audience off balance, and she did perfectly. I was extremely impressed and look forward to seeing more of her work.


 Caught  - Intiman Theatre
Jonelle Jordan (Joyce/Curator)

Jonelle's choices and objectives were incredibly specific and defined thoughout an incredibly dynamic and chaotic storyline. I loved watching her reactions - she helped me to understand what was happening, and how I was supposed to feel. Really precise work!


 Caught  - Intiman Theatre
Justin Huertas (Lin Bo)

Natural, believable, confident, showing a range of personalities and showcasing his vocal ability in speaking.


 Caught  - Intiman Theatre
Justin Huertas (Lin Bo)

Best "losing it/freak out" ever. Hilarious.


 Caught  - Intiman Theatre
Justin Huertas (Lin Bo)

His two separate characters were very different. He managed to play both tragic and comic, sometimes in the same breath.


 Caught  - Intiman Theatre
Justin Huertas (Lin Bo)

Justin is a remarkable actor who always sits in the reality of what is character is experiencing. He is always a pleasure to watch at work.


 Caught  - Intiman Theatre
Justin Huertas (Lin Bo)

Justin's extended breakdown scene was a delight to watch.


 Caught  - Intiman Theatre
Justin Huertas (Lin Bo)

Justin's reaction to Narea when Lin Bo and Wang Min discovered that they were both lovers of Yang Ru (forgetting the name of the "real" Chinese artist) was just fabulous. It was part of the whole over-theatrical/perfectly realistic back and forth that each scene embodied at some point, and he did it wonderfully.


 Caught  - Intiman Theatre
Narea Kang (Wang Min)

I loved the way she took the curator apart. As well as Lin Bo.


 Caught  - Intiman Theatre
Narea Kang (Wang Min)

Narea had one of the hardest jobs in this ensemble. I think her transitions were some of the most dramatic. She also had the difficult duty of bringing the audience out of one theatrical space into another, and selling it so we truly were not sure whether or not she was an actor. She sold it. I was completely thrown in the best way possible. Her commitment was exceptional and I couldn't take my eyes off her. I needed to know what she would say or do next, how her face would look as information hit her. It was remarkable.


 Caught  - Intiman Theatre
Narea Kang (Wang Min)

Narea so completely drew me in during her monologue that I often had the urge to hit the "replay" button! She had me 100% and I felt her scene partner's near breakdown and at the same time wanted more. Hope to see her again in Seattle!


 Caught  - Intiman Theatre
Other/Final Comments

Great ensemble show! Loved the staging and setup of it. Gave me a lot to think about!


 Caught  - Intiman Theatre
Other/Final Comments

I had to write down all the play within a play stuff just to keep it all straight in my head. Loved it.


 Caught  - Intiman Theatre
Other/Final Comments

I loved this play - intelligent, unexpected, and funny!


 Caught  - Intiman Theatre
Other/Final Comments

The layers upon layers of this play were excellently directed and acted. The result screwed with my mind and left me exhausted in a good way. The actors brilliantly took advantage of a willing audience - it was all a very successful, huge fraud, up until and possibly including the bows. By that point, I did not trust them.... but, I was completely engulfed. It wasn't until 24 hrs. later that I recognized the significance of the Chinese man's name, Yu Wrong. Yes I was. Several times. Lin Bo actually says at one point, "Somebody must be the keeper of the truth." Excellent production.


 Caught  - Intiman Theatre
Other/Final Comments

This is a show I know I will always remember. It made me uncomfortable, but it was supposed to do that. It was productive in its discomfort, not just shocking. It was intelligent and well-crafted and surprising at every turn. This is some of the best Seattle theatre has to offer.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Arika Matoba (Lucy)

Ms. Matoba was a perfect Lucy, from the body language to the vocal qualities to the handling of the can of nickels.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Comments (Actors)

Brad Walker was an adorable and charming Linus!


 Charlie Brown Christmas, A  - Taproot Theatre Company
Comments (Direction)

The staging was fabulous. The casting was spot-on.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Comments (Ensemble)

Seamless. The relationship between the characters was just like the cartoon, but infinitely more human. They held their audience enthralled - as my companion commented, the kids in the audience were almost entirely silent throughout the performance, which considering the average age of the children was probably 4 or 5 years old, means they were entirely engaged in the storytelling on the stage.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Comments (Overall Production)

This was a really well done production of an extremely well known cartoon. I was so engaged that I didn't take many notes; I was absorbed in the seamlessness and simplicity of the story.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Coulson Bingham (Snoopy)

Coulson was a delightful Snoopy! Big energy and wonderful physicality.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Coulson Bingham (Snoopy)

Coulson was phenomenal. His physicality especially was hilarious and engaging, and he communicated volumes without lines. I can't wait to see him in something else.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Coulson Bingham (Snoopy)

The humanity of Mr. Bingham's beagle was very well done. And on skates.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Defining Moment

From the moment each character appeared onto the stage there was a mutual feeling of magic between the very young audience and the young at heart. An extremely enjoyable production for all.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Defining Moment

I loved when Lucy said "That's it!" to Schroeder. I'd seen that moment in the Christmas special so many times but the line honestly never made sense to me until I saw this Taproot production.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Defining Moment

Lucy announcing she wanted real estate for Christmas!


 Charlie Brown Christmas, A  - Taproot Theatre Company
Defining Moment

The actors played a lot with the kids in the audience in little smirks and reactions (particularly the actor who played Snoopy) and it was a treat for the whole audience.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Defining Moment

The decorating of the Christmas tree.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Defining Moment

The opening number with skates was a fun start to a great show!


 Charlie Brown Christmas, A  - Taproot Theatre Company
Defining Moment

When the kids threw snowballs at the can! That was some theatre magic right there.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Defining Moment

When the spotlight falls on Linus and he gives his speech explaining the true meaning of Christmas.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Maya Burton (Frieda)

SOOOO proud of her hair. This makes me happy on so many levels I can't tell you.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Other/Final Comments

Brilliant work from the entire ensemble.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Other/Final Comments

I really really really enjoyed this show. I would see it again.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Sarah Diener (Sally)

Ms. Diener was a scream. The vocal quality was spot-on: very similar to the the TV Sally, but unique and distinct to the actor.


 Charlie Brown Christmas, A  - Taproot Theatre Company
Steven Tran (Schroeder)

Fabulous pianist.


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Costume)

Dressing everyone in the same color was to me symbolic of everyone having the same value


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Costume)

Great choices for these actors. Looked very professional. Nice concept.


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Costume)

I loved all of the different variations of all red looks, particularly with the gold apples at the beginning


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Direction)

100% THE Director we all should be watching. Truly exceptional work by Jay O'Leary.


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Direction)

I don't know how much of the overall concept of the piece was in the stage directions and how much was put together by the director and production team. But as a cohesive unit all elements worked together beautifully, and there was never a moment in which the audience was lost, excluded, or left behind.


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Direction)

Such clear vision and a great execution of a potentially challenging script.


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Ensemble)

Amazing job with a difficult show and text. Flawlessly executed they worked seamlessly together.


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Ensemble)

The tightest, most precise ensemble I've witnessed this year. Brilliantly clean - so much so they because transcendent.


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Ensemble)

This show required a very tight knit group to be very connected to each other and I thought it was done exceptionally well


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Scenic)

Nice use of photos/videos as part of the backdrop, making everything more visceral


 Citizen: An American Lyric  - Sound Theatre Company
Comments (Sound/Music)

The sound and music elements were another character on this stage. They underscored without overwhelming. They took the environment being created on stage and painted the whole theatre with it. I was engulfed in the best way.


 Citizen: An American Lyric  - Sound Theatre Company
Defining Moment

Finale


 Citizen: An American Lyric  - Sound Theatre Company
Defining Moment

So many possible - Shermona Mitchell's closing monologue about not knowing "how to end something that has no ending"


 Citizen: An American Lyric  - Sound Theatre Company
Defining Moment

The final images of slain names projected onto the set.


 Citizen: An American Lyric  - Sound Theatre Company
Defining Moment

The man on the bus.


 Citizen: An American Lyric  - Sound Theatre Company
Defining Moment

The opening poem set the tone


 Citizen: An American Lyric  - Sound Theatre Company
Defining Moment

The Serena Williams vignettes


 Citizen: An American Lyric  - Sound Theatre Company
Defining Moment

The wall near the end with all of the names of black people killed by white violence projected with light.


 Citizen: An American Lyric  - Sound Theatre Company
Defining Moment

This show was great and gripped me from beginning to end. The Serena Williams moments were especially good


 Citizen: An American Lyric  - Sound Theatre Company
Defining Moment

When Citizen 6 (white) was saying some ignorant nonsense, and Citizen 4 (black) was able to snap his fingers and silence him immediately. The relief and joy in the room was palpable.

Overall the commitment and delivery in this piece was remarkable, both the tragic and comedic.


 Citizen: An American Lyric  - Sound Theatre Company
Defining Moment

When the citizen's repeat the line "And you are not the guy and still you fit the description because there is only one guy who is always the guy fitting the description" and then they project the name of all the black men and women who have lost their lives due to police brutality.


 Citizen: An American Lyric  - Sound Theatre Company
Other/Final Comments

Very strong production of a difficult show! The cast was superb.


 Citizen: An American Lyric  - Sound Theatre Company
Other/Final Comments

Honest, intense, necessary!!!!!!


 Citizen: An American Lyric  - Sound Theatre Company
Other/Final Comments

This is one of the sharpest pieces of theatre I've seen in a long time. Every single person on that stage was on it, and every element worked together. I left the theatre in awe, and incredibly grateful to have had the chance to see it.


 Citizen: An American Lyric  - Sound Theatre Company
Other/Final Comments

This production was, without a doubt, the crown jewel of the entire Seattle theatre community's 2018-2019 season. I had no idea what to expect while walking in, and could not help but to leap to my feet as soon as the curtain fell. Simply superb. A miracle.


 Citizen: An American Lyric  - Sound Theatre Company
Other/Final Comments

Truly an education! Great job!


 Clean House, The  - As If Theatre Company
Amy Gentry (Virginia)

Amy was a perfect counterpoint to Cindy's Lane. Sisters that have been at odds for years. Great, detailed work.


 Clean House, The  - As If Theatre Company
Amy Gentry (Virginia)

Did a nice job physically embodiment her character


 Clean House, The  - As If Theatre Company
Cindy Giese French (Lane)

I've seen Cindy mostly in comic roles, so this dramatic turn simply floored me. Fine, restrained and highly emotional. Lovely work.


 Clean House, The  - As If Theatre Company
Comments (Lighting)

Did their best to make it work in a challenging space.


 Clean House, The  - As If Theatre Company
Defining Moment

Late in the play when projection "Lane Forgives Ana" appeared on the screen.


 Clean House, The  - As If Theatre Company
Defining Moment

The cast throwing bitten apples at the audience from the balcony


 Clean House, The  - As If Theatre Company
Defining Moment

The last line in the show: “I think heaven is a sea of untranslated jokes, only everyone is laughing.”


 Clean House, The  - As If Theatre Company
Defining Moment

The whisper of the final joke for Ana.


 Clean House, The  - As If Theatre Company
Defining Moment

Tossing apples off the balcony in Ana's apartment and they land in Lane's apartment


 Clean House, The  - As If Theatre Company
Defining Moment

Watching someone die from the most perfect joke in the world was certainly memorable. It felt very appropriate to end the show like that.


 Clean House, The  - As If Theatre Company
Defining Moment

When another woman's panties show up in Lane`s laundry


 Clean House, The  - As If Theatre Company
Defining Moment

When Lane forgave Ana.


 Clean House, The  - As If Theatre Company
Defining Moment

When Virginia gets upset with Lane and makes a huge mess in her once clean house.


 Clean House, The  - As If Theatre Company
Other/Final Comments

Can’t wait for the next As If production!


 Clean House, The  - As If Theatre Company
Other/Final Comments

I loved seeing this play again. I saw it several years ago at ACT but had nearly forgotten it except for the white furniture. And the production was very good


 Clean House, The  - As If Theatre Company
Other/Final Comments

This was my first time seeing this show and I was quite taken with the play and the production. Bravo.


 Clean House, The  - As If Theatre Company
Terry Boyd (Charles)

Great, restrained work from an actor that I've mostly seen in broadly comic roles.


 Communicating Doors  - Lamplight Productions
Cindy Giese-French (Ruella)

An endearing bright spot.


 Communicating Doors  - Lamplight Productions
Cindy Giese-French (Ruella)

Cindy is a very gifted comic actress and was well suited for this role.


 Communicating Doors  - Lamplight Productions
Cindy Giese-French (Ruella)

From the instant Giese French steps foot on the stage, she galvanizes. Such a significant presence and stillness in her portrayal of Ruella. She radiates power, gravitas, warmth, humanity and determination. She and Hall create something magical when they're on stage together. I LOVED these women together - the joy and synergy they have as Phoebe and Ruella - the tenderness and hilarity was a rare treat to witness. Brava!!


 Communicating Doors  - Lamplight Productions
Cindy Giese-French (Ruella)

I cannot wait to see Cindy in whatever she tackles next. She was just so wonderful to watch. She had a lovely sense of her character, and I enjoyed watching her mentor and inspire Molly's character Phoebe.


 Communicating Doors  - Lamplight Productions
Cindy Giese-French (Ruella)

Loved the energy she brought to this production.


 Communicating Doors  - Lamplight Productions
Cindy Giese-French (Ruella)

My favorite by far. Cindy really inhabited the character of Ruella. I loved her physical work and choices for the character. She really brought Ruella to life and made me root for the character's success.


 Communicating Doors  - Lamplight Productions
Colleen Davis (Jessica)

I especially loved her work in the scene when she finally came back. She was hilarious through, but her work really shone in that scene.


 Communicating Doors  - Lamplight Productions
Colleen Davis (Jessica)

Jessica's arc comes through.


 Communicating Doors  - Lamplight Productions
Comments (Costume)

funny mullet wig and shaggy wig on guys from the "past".


 Communicating Doors  - Lamplight Productions
Comments (Ensemble)

Definitely looked like everyone was having fun together.


 Communicating Doors  - Lamplight Productions
Comments (Ensemble)

In the final scenes with Jessica, Ruella and Phoebe, the performances got stronger and stronger. The pairing of Hall and Giese French is one of the strongest performances between two actors I've seen in a very long time.


 Communicating Doors  - Lamplight Productions
Comments (Ensemble)

Lamplight Productions has a great core of actors, that work together very well.


 Communicating Doors  - Lamplight Productions
Comments (Ensemble)

The multi person stunts were done well.


 Communicating Doors  - Lamplight Productions
Comments (Lighting)

Challenging space for a production, so the lights really helped with focus on the characters, direction of the story and sense of place and time - especially with the magic door and city lighting outside the windows.


 Communicating Doors  - Lamplight Productions
Comments (Lighting)

The highlight of this piece, lighting set the scene and was used well to create the magic of time travel and warfare!


 Communicating Doors  - Lamplight Productions
Comments (Lighting)

The use of light and sound for the "time warp" was very effective. Amplified by Giese French's movements which were always cleverly disorienting.


 Communicating Doors  - Lamplight Productions
Comments (Scenic)

Interesting use of the space. I thought it worked well, but it took a bit to orient myself.


 Communicating Doors  - Lamplight Productions
Comments (Scenic)

The placement of the bathroom is effective, particularly for Julian's attempt to drown Phoebe. There's enough remove to preserve the illusion of threat.


 Communicating Doors  - Lamplight Productions
Comments (Scenic)

The revolving doorway well done


 Communicating Doors  - Lamplight Productions
Comments (Sound/Music)

I appreciated the music chosen for pre-inter-and post show. It was a fun nod to the eras of the play and the context without being too over the top.


 Communicating Doors  - Lamplight Productions
Dara Lillis (Julian)

Dara was a great villain, and was most effective when he was determined and headed toward a goal.


 Communicating Doors  - Lamplight Productions
Dara Lillis (Julian)

Whoa, he played up the creep-factor to the hilt. Really despised his character - great acting (assuming he is a nice guy in real life).


 Communicating Doors  - Lamplight Productions
Defining Moment

In the final scene, when we find out that Phoebe/Poopay was adopted by Ruella. It really hit me how the story connected like that.


 Communicating Doors  - Lamplight Productions
Defining Moment

Jason Gingold's performance in the first scene as a dying man on oxygen. Very realistic and compelling.


 Communicating Doors  - Lamplight Productions
Defining Moment

Ruella's characterization and the actor's performance of her character in the second half of the play sold me on engaging and responding to the piece.


 Communicating Doors  - Lamplight Productions
Defining Moment

The end of Act I when the villain apparently strangled the female lead in the bathroom. Chilling and shocking.


 Communicating Doors  - Lamplight Productions
Defining Moment

the final line, the fervent "Thank you", that really stuck with me for the rest of the day


 Communicating Doors  - Lamplight Productions
Defining Moment

The scene at the window, late in the play, was such a triumph of the ensemble and a joy of comic madcappery. As soon as she sat on the window sill, the audience let out gasps, at that point, knowing where this scene was going in delighted anticipation.


 Communicating Doors  - Lamplight Productions
Defining Moment

When Cindy Giese French stepped onstage. From the minute she opened her mouth, the entire show shifted for me. I was immediately invested in her character, Ruella, and her problems, and it was a joy to watch her onstage. She could turn on a dime so excellently; from hilarious line-deliveries one minute, to gobs of thoughtful, emotional truth the next.


 Communicating Doors  - Lamplight Productions
Defining Moment

When Ruella goes through the door and you realize what the play is.


 Communicating Doors  - Lamplight Productions
Defining Moment

When the arm popped through the couch and the entire audience gasped. Also, the unexpectedness of Ruella falling out of the window.


 Communicating Doors  - Lamplight Productions
Jason Gingold (Reece)

His ability to physically transform between the three different and distinct ages of his character was wonderful.


 Communicating Doors  - Lamplight Productions
Jason Gingold (Reece)

His portrayal of Reece at the end with Phoebe is moving.


 Communicating Doors  - Lamplight Productions
Jason Gingold (Reece)

Incredibly offensive and charmless caricature of old age and stuttering.


 Communicating Doors  - Lamplight Productions
Jason Gingold (Reece)

Jason is quite a versatile actor, able to play the different ages of the same character.


 Communicating Doors  - Lamplight Productions
Jason Gingold (Reece)

Played the same character at three different stages in life, completely convincingly.


 Communicating Doors  - Lamplight Productions
Molly Hall (Phoebe/Poopay)

Hall exudes physicality, intelligence and a beautiful nuance of expression to Phoebe's every thought displayed in every part of her body from fingertip to toe. Everything she does is an extension of a fully conceived, 3D human being - owned, wholeheartedly.
She is so damned funny or vulnerable and always utterly engaged and present. When she and Giese French are working together in a scene, I am leaning forward in my seat and enthralled. Beautiful.
I came to not just root for Phoebe but to love her as Ruella does. The poignancy of the final scene had me in tears. And the accent - understated and spot on.


 Communicating Doors  - Lamplight Productions
Molly Hall (Phoebe/Poopay)

Molly did a great job as the audience surrogate, balancing the the time shifts and multiple character relationships.


 Communicating Doors  - Lamplight Productions
Molly Hall (Phoebe/Poopay)

Molly is an incredibly gifted actor and I loved watching her little reactions and facial expressions throughout. Her accent work was also lovely, and I loved the emotional truth that she portrayed, especially in the last scene with Jason Gingold.


 Communicating Doors  - Lamplight Productions
Molly Hall (Phoebe/Poopay)

You could really see the arc of her character development


 Communicating Doors  - Lamplight Productions
Terry Boyd (Harold)

Terry did a great job portraying a character at different times. I enjoyed his performance very much in this show!


 Communicating Doors  - Lamplight Productions
Terry Boyd (Harold)

Terry is a very funny actor, who always brings a smile to my face with his comic befuddlement.


 Communicating Doors  - Lamplight Productions
Terry Boyd (Harold)

Terry's comedic timing and sense of character was on point. He stood out in a good way- a truly hilarious addition to the ensemble.


 Complete Works of William Shakespeare (Abridged), The  - Centerstage Theatre
Comments (Actors)

These 3 actors worked very well together in a play that strongly depends on partnership. Very well done and a pleasure to experience.


 Complete Works of William Shakespeare (Abridged), The  - Centerstage Theatre
Comments (Costume)

Creative ways to change characters often.


 Complete Works of William Shakespeare (Abridged), The  - Centerstage Theatre
Comments (Costume)

While meant to be simple and playful, the costumes added to the humor of the show.


 Complete Works of William Shakespeare (Abridged), The  - Centerstage Theatre
Comments (Direction)

The direction of this play was obviously collaborative and full of life and energy.


 Complete Works of William Shakespeare (Abridged), The  - Centerstage Theatre
Comments (Lighting)

Comedic and effective lighting


 Complete Works of William Shakespeare (Abridged), The  - Centerstage Theatre
Comments (Scenic)

A beautiful set to withstand the nature of this play