TWELFTH NIGHT
"BRAVA to the virtuoso Elliott who handily steals her scenes, whether she is in jail (wait until you see this clever staging) or prancing and self-rhapsodizing like a peacock (oh more accurately, Big Bird) when her Malvolio dresses up in Tweety Bird-yellow tux ruffles, feather hat and stockings for his perceived love encounter with Oliva. This scene is probably the best three minutes in the play." --Sandy Staggs, Carolina Curtain Call
HOME/SICK
"A crop-haired St. Joan with laser-precise expressive control "
--Helen Shaw, TimeOut New York
"The performers’ ambivalent admiration of the Weather Underground’s passion can at times become unsettlingly infectious." --Catherine Rampell, The New York Times (NYT Critic's Pick)
"We called it Bikram Theater." --Lizzie Simon, The Wall Street Journal
--Helen Shaw, TimeOut New York
"The performers’ ambivalent admiration of the Weather Underground’s passion can at times become unsettlingly infectious." --Catherine Rampell, The New York Times (NYT Critic's Pick)
"We called it Bikram Theater." --Lizzie Simon, The Wall Street Journal
SEAGULLMACHINE
"Chekhov’s plays are notoriously difficult to produce pitch perfectly, but The Assembly comes rather close. Every character is believably dramatic, feeling the highest stakes for even the lowliest actions. Every choice clearly affects both the character that makes it and the outcome of ensuing events for other people. Reality can be tortured, and it can be hilarious. This production hits all the right comedic notes, especially the dark ones." --Jamie Rosler, The Reviews Hub
DEBUTANTE
"Anna Abhau Elliott toes gracefully between her character’s huge comic moments and a true understanding of her love for her horse...possesses a gift for comedy and works wonderfully with quirky delivery and sharp comic timing." --Mateo Moreno, The ArtsWire
"Special attention must be paid to the leads—Elizabeth Alderfer (Brenda), Anna Abhau Elliott (Frankie), and Keilly McQuail (Barbara)—who find layers in their characters that prevent them from being sketch-comedy schtick." --Aurin Squire, New York Theatre Review
"Special attention must be paid to the leads—Elizabeth Alderfer (Brenda), Anna Abhau Elliott (Frankie), and Keilly McQuail (Barbara)—who find layers in their characters that prevent them from being sketch-comedy schtick." --Aurin Squire, New York Theatre Review
THE RECORD
"The audience’s immersion in this wordless dance-theater piece creates a feeling of quiet but intense intimacy, and even a shivery sense of reverence for the communal experience not just of theater, but of life itself." --Charles Isherwood, New York Times