New Works

New works are always a delight to a critic–getting to see something you haven’t seen again and again. They also require a different sort of review, one that looks closer at the story than many other types of reviews. Here are some samples from the past several years.

New work at Flint Rep mourns the casualties of the opioid crisis, Encore Michigan, Sept. 24, 2023

Williamston’s ‘Alabaster’ opens poignant window into pain and loss, Encore Michigan, June 1, 2023

‘Mrs. Harrison’ at Williamston explores who possesses a story when there is money on the line, Encore Michigan, Apr. 8, 2023

Flint celebrates female empowerment with “The Future is Female”, Encore Michigan, Feb. 7, 2023

Virus of selfishness worms its way through pandemic play, Houston’s Chron.com, June 2, 2021

The Rest is History, OnStage Blog, The Braid, May 18, 2021

Framing Device, Lansing State Journal, Peppermint Creek, Nov. 14, 2018

Safe House, Encore Michigan, Williamston Theatre, Oct. 13, 2019

Constellation, Encore Michigan, Freshwater Performance Lab, Sept. 14, 2019

Third Person, Encore Michigan, The Great Escape, May 26, 2019

Hope, Encore Michigan, Ixion, May 23, 2019

  • Jayatissa has a stillness that indicates deep waters and she listens far more intently than her seemingly more shallow classmate notices. Marks brings beautiful facial tics and a vocal style that immediately let the audience make short cut assumptions about her that work for the telling of the story.

    Hope review

The Boatman, Encore Michigan, Flint Rep, Oct. 1, 2018

Doublewide, Encore Michigan, Williamston Theatre, April 3, 2018

Geeked, Encore Michigan, Ixion, May 15, 2017

Askew, Askance, A Squirrel, Encore Michigan, Ixion, March 22, 2017

A Painted Window, Encore Michigan, Williamston Theatre, Feb. 5, 2017

Every Breath You Take, Encore Michigan, Ixion, Nov. 13, 2016

Pulp, Encore Michigan, Williamston Theatre, Oct. 2, 2016

The Amazing Jesus, Encore Michigan, Ixion, Sept. 26, 2016

 

  • Mark Colson wins the ribbon for creepiest character as R.A. Lyncroft, the horror writer. Zettelmaier offers him scenery to chew and Colson does so with relish. He is appropriately mysterious, more than half-mad, and commanding in his presence. Even in a comedy, Colson finds a way to make goosebumps climb up the backs of the audiences.

    Pulp review