Review Quotes of MultiStages Productions

The historical story of currently incarcerated Latina serial killer Dorothea Puente, who dispatched elderly and drifter residents of her Sacramento boarding house, makes terrific dramatic material in Mary Fengar Gail's fictionalized The Judas Tree. ... Voluptuous landlady Elena Fiero (played with defiant intensity by the comely Roseanne Medina) … a strong supporting cast, particularly Daniel H. Hicks in the dual roles of the concerned uncle and an elderly boarder, Colleen Cosgrove as a chatty boarder and expert witness, and José Febus in several roles…
-- BackStage, by Christopher Murray

 
When the mesmerizing Elena Abril Fiero casts her spell it is nearly impossible to escape entanglement, obsession, something akin to rapture. This near-religious experience is perfectly realized by the cast and artistic crew presenting Mary Fengar Gail’s The Judas Tree, a journey into madness. Gail’s world, in which the beautiful and the macabre live side by side, is stunningly rendered with superb acting, a grim chorus, and subtle lighting effects. …
-- offoffonline.com, by Maura O'Brien

The Judas Tree, deftly directed by Lorca Peress … John Haggerty performs this heightened text with clarity and precision. … the play also incorporates a Greek chorus … [who] sing, dance, and act as a living embodiment of the Brechtian alienation effect. Their presence is also a clear reminder that this is the world of theatre, not a window on reality. … Roseanne Medina is chilling in her portrayal of Elena. …Daniel H. Hicks, José Febus, and Colleen Cosgrove are also particularly notable for their abilities to portray the troubled tenants of Elena's rooming house realistically and empathetically and then switch to playing key members of the courtroom drama. …Each character is unique and nuanced …This play is abstract and disturbing, yet its relevance to our world is undeniable. …Gail's play astutely reminds us that there are no clear answers in questions of belief. It also highlights the idea that a person's exterior tells us nothing about who she really is.
-- nytheatre.com, by Kelly Aliano
 
MultiStages’ latest offering is Mary Fengar Gail’s true-crime inspired The Judas Tree. With the production company’s signature “multidisciplinary fusion and multicultural themes” securely in place, this wolf in sheep’s clothing tale of a serial killer in a tight skirt takes on an unlikely, mythic edge to impressive effect.  The supporting characters each have their own energy to infuse, and the fine ensemble cast, sometimes in multiple roles, serve the playwright and director well.…The ultimate touch is the 5-person Chorus Corpus Flora, who dance and sing, elevating the play to someplace beyond drama, yet somewhere other than the comfort and predictability of musical theater.  …The Judas Tree represents a notable addition to MultiStages’ expanding production history. As always, I look forward to the next one. 
-- Electronic Link Journey Review, by Kessa De Santis

 
“Knowing Bliss is ambitiously directed by Lorca Peress, who uses multimedia and dance in a fascinating manner. Blanche Baker acts the hell out of the part … she explores the nuances of this character with a comedic flair as well as subtle dramatic strength.”
-- Frank J. Avela, NY Cool


“[In Knowing Bliss], Candice Waugh Myers is most impressive as the anxiety ridden Bliss … Blanche Baker is both hilarious and poignant as Laura …. Carlos Fittante’s masked Coyote character moves well to David Amram’s music,… the landscape can also be seen directly behind center stage on a giant projector screen. Arden Kass is a gutsy playwright and quite possibly a genius.”
-- Ben Butler, Showbusiness Weekly


“Under the nimble direction of Lorca Peress, … Day of Reckoning reflects the commitment of MultiStages to theater that incorporates diverse art forms… Ghoulish paper-maché puppets (created by Lorca Peress) ... and Adam Larsen’s muted video projections on the draped scrim at back enrich the drama. 
-- Deidre McFadyen, OffOffOnline


 "[Novel is]… thought provoking, intriguing, well acted and directed!"
-- Richard Bey, WABC Radio


"[Novel is]…a play for a thinking cast and audience … With so much forced holiday cheer out there, why not try something real -- A THEATRICAL ANTIDOTE!"
-- Kessa De Santis, Electronic Link Journey


“[Novel director], Lorca Peress … never pushes Citriniti and Bardwell past the honesty of whatever characters they play. …Peress’ frequent use of stylized movement is a nice touch, perfectly appropriate for a genuine memory play.  There’s also smart work evident in the minimal set and costumes by Marc Borders, evocative lighting by D.A. Strawder, and novel original music by Anika Paris and Dean Landon.”
-- Leonard Jacobs, Back Stage
 

"[Novel was] well directed by Lorca Peress with fine performances by its three-person cast."
-- Chelsea/Clinton News
"The Palace of Loneliness …is a comprehensive and theatrically diverse new work ….”
-- Kessa De Santis, Electronic Link Journey


"Strong performances by the actors!"
-- John Andanov, Show Business Weekly