What Do You Say To a Shadow?
“Delightfully atmospheric “What Do You Say To a Shadow" . .marks the emergence of an exciting new voice in theatre.”
Michael Allen Zell writes with rich imagery and a flair for cleverly poetic speech.”
"In one of the most remarkable performances of the year, Mary Pauley grips the audience tightly in her hand as the old woman spinning her stories. She handles Zell’s language with a natural appeal. . . Pauley charms the audience as surely as she does the bookseller. She is pushy and vulnerable, calculating and sweet.”
“ . . .with a wonderfully understated performance, Richard Mayer’s talent shines, particularly because he creates such a complete character without having a lot of lines to help him along.”
"Director Angela Jo Strohm gives the actors room to weave their magic within the confines of the simple bookstore set, creating enough action as Pauley’s character roams about but never drawing the attention away from the language.”
"*NU* Theatre deserves special accolades for bringing Zell to audience’s attention. I eagerly await future work from this bright new voice for the stage.”
-Theodore Mahne, The Times-Picyune
[Read Full Review Here]
Michael Allen Zell writes with rich imagery and a flair for cleverly poetic speech.”
"In one of the most remarkable performances of the year, Mary Pauley grips the audience tightly in her hand as the old woman spinning her stories. She handles Zell’s language with a natural appeal. . . Pauley charms the audience as surely as she does the bookseller. She is pushy and vulnerable, calculating and sweet.”
“ . . .with a wonderfully understated performance, Richard Mayer’s talent shines, particularly because he creates such a complete character without having a lot of lines to help him along.”
"Director Angela Jo Strohm gives the actors room to weave their magic within the confines of the simple bookstore set, creating enough action as Pauley’s character roams about but never drawing the attention away from the language.”
"*NU* Theatre deserves special accolades for bringing Zell to audience’s attention. I eagerly await future work from this bright new voice for the stage.”
-Theodore Mahne, The Times-Picyune
[Read Full Review Here]
The Motherfucker with the Hat
“Josh Parham has assembled a strong cast . . .
[Michael] Santos’ layered performance, revealing pain and dignity, has an effective subtlety . . .
Giving an electrically propelled performance, Kate Kuen fully inhabits her role as Veronica . . .
[Martin] Bradford gives a sharply comedic turn that pulls the audience in . . .
We tip our hat to the show’s sharply authentic dialogue delivered by a viscerally lively cast.”
Ted Mahne, The Time’s Picayune
[Read Full Review Here]
[Michael] Santos’ layered performance, revealing pain and dignity, has an effective subtlety . . .
Giving an electrically propelled performance, Kate Kuen fully inhabits her role as Veronica . . .
[Martin] Bradford gives a sharply comedic turn that pulls the audience in . . .
We tip our hat to the show’s sharply authentic dialogue delivered by a viscerally lively cast.”
Ted Mahne, The Time’s Picayune
[Read Full Review Here]
“Featuring a rock star cast . . .
Vibrant.”
-Phillip Yiannopoulos, NOLA Defender
[Read Full Review Here]
Vibrant.”
-Phillip Yiannopoulos, NOLA Defender
[Read Full Review Here]
"Extraordinary work . . .
A funny, heartfelt contemporary slice of American depictionalism . . .
This gritty production of addiction and love in Manhattan’s upper west side is a nasty good time.
A fine production . . . at times, this production is as good as the best work I’ve seen anywhere.
*NU* Theatre . . . has chosen their second major production wisely.
Outstanding display of talent, well-directed . . .
Armando Leduc . . . makes every scene he’s in about fifty percent better.
Michelle Martin hits the right notes.
Wonderful entertainment.
The reason I see theatre is to be entertained, moved, and even awed.
*NU* Theatre’s Motherfucker does these things.
See this show because it will move you.
-Bradley Warschauer, Black and Gold Review
[Read Full Review Here]
A funny, heartfelt contemporary slice of American depictionalism . . .
This gritty production of addiction and love in Manhattan’s upper west side is a nasty good time.
A fine production . . . at times, this production is as good as the best work I’ve seen anywhere.
*NU* Theatre . . . has chosen their second major production wisely.
Outstanding display of talent, well-directed . . .
Armando Leduc . . . makes every scene he’s in about fifty percent better.
Michelle Martin hits the right notes.
Wonderful entertainment.
The reason I see theatre is to be entertained, moved, and even awed.
*NU* Theatre’s Motherfucker does these things.
See this show because it will move you.
-Bradley Warschauer, Black and Gold Review
[Read Full Review Here]
“4 out of 5 stars”
Guirgis’ gritty language of the streets is perfectly taken up by Michael Aaron Santos . . .
The conversational dialogue Guirgis’ employs was put to good use by director Joshua Parham . . .
Santos and Kuen deliver truly knockout performances . . .
[Michelle] Martin is quite compelling . . .
-Alan Smason, The Examiner
[Read Full Review Here]
Guirgis’ gritty language of the streets is perfectly taken up by Michael Aaron Santos . . .
The conversational dialogue Guirgis’ employs was put to good use by director Joshua Parham . . .
Santos and Kuen deliver truly knockout performances . . .
[Michelle] Martin is quite compelling . . .
-Alan Smason, The Examiner
[Read Full Review Here]