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TWENTIETH CENTURY (Lily Garland) - 2009

by Ben Hecht & Charles MacArthur        Photographs by Mark Kitaoka and Tracy Martin



(Dan) Hiatt and Dines deliver beautifully matched oversize personalities.  Hiatt...clashes and meshes perfectly with Dines' strategic and impulsive Hollywood diva histrionics. If he brings down the house with a tour de force account of the Christ story as a vehicle for her Mary Magdalene, it won't be long before she'll match it with one of her own.” - San Francisco Chronicle



As Garland, Rebecca Dines is a study in comic genius, a fireball of physical gags and passive-aggressive outrageousness” -  Metro Stage


Dines is remarkable in her ability to cajole, seduce, demand and enthrall in the space of 10 seconds.”

- Contra Costa Times

DISTRACTED (Mama) - 2010

by Lisa Loomer        Photographs by Mark Kitaoka and Tracy Martin



“Rebecca Dines' smart, magnetic and affecting performance, at the head of a first-rate ensemble, commands full focus...Dines draws us in with a portrait of a smart, witty, challenged and loving mother so attractive that we become invested in her dilemma.” - SF Chronicle


“Glorious Rebecca Dines dives into the part of Mama with her usual amazing way of becoming the character.”

  1. -Gilroy Dispatch


“Rebecca Dines is outstanding in the role of Mama. She keeps her character fascinating, funny and always real.”

  1. -Talkin’ Broadway

  2. -

“...a tour de force acting job by TheatreWorks/Bay Area favorite Rebecca Dines, making it a must see show.”

- www.theathreworldinternetmagazine.com

THE 39 STEPS (Annabella, Margaret & Pamela)  - 2011

adapted by Patrick Barlow from the novel by John Buchan and the movie of Alfred Hitchcock

Photographs by Mark Kitaoka and Tracy Martin



“Playing multiple female roles, Rebecca Dines is an actress with great comic chops and a flair for the ‘30s noir style.  Later, she is Pamela, the classic headstrong Hitchcock blonde. Handcuffed to Hannay...she is the perfect romantic foil....a finely tuned blizzard of crack comic timing and theatrical invention...an exceptional cast...”

- Palo Alto Weekly



Bay Area treasure Dines morphs from femme fatale to wide-eyed captive with canny precision...she exhibits superb physical comedy and razor-sharp comic timing...This four person cast is phenomenal! Highest recommendation!”  - San Francisco Bay Times


“...a masterclass in flexibility, teamwork and organized chaos.” - Mountain View Patch


“...brilliant performances from Mark Anderson Phillips as Hannay, and Dan Hiatt and Cassidy Brown who play all the other roles, and there are many, which are not being portrayed by the glorious Rebecca Dines.” - SF TheatreBlog


“...Lucille Ball would be proud of Dines' witty performance...” - Examiner.com


“When you have four actors playing over 150 parts in a single show, you expect a certain degree of talent. But in Hitchcock’s entertaining farce The 39 Steps I didn’t ever imagine I’d see this much talent on one stage, at one time.” - Stark Insider


The jokes are as old as vaudeville. However, the cast delivers everything so perfectly that the payoff is always worth it. - SanJose.com

Lily Garland in Twentieth Century TheatreWorks, 2010

BEST SUPPORTING ACTRESS - Ruth in THE HOMECOMING


“A wondrous production...Carpenter and Dines create a subliminal portrait of a marriage with tiny telling strokes.”

-San Francisco Chronicle


“This production,  Pinter  through and through, owes its ultimate success to a practically flawless cast.”

- Bay Area City Search


“A spectacular production.  Nowadays, myriad psychiatric labels would apply to Ruth, but Dines, who couldn’t be better, captures the person underneath them, revealing without explaining the horror’s in Ruth’s psyche.” 

-  San Francisco Weekly

“A savage delight..the intense experience is enhanced in no small measure by the incredible acting performances of the entire cast.” - ContraCosta Times


“No performance here is anything less than superb.  Ever reliable Dines turns in another crisp, totally assured performance.”

-  Oakland Tribune

The Philadelphia Story, Pacific Alliance Theatre, 1996

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TIME STANDS STILL (Sarah Goodwin) - 2012

by Donald Margulies       Photographs by Mark Kitaoka and Tracy Martin


“As Sarah, Rebecca Dines...is absolutely mesmerizing. She projects every emotional twitch, every shifting feeling, with understated grace and nails the humor when lesser actors might overplay those moments. When her psychic shield finally breaks down, it is a riveting moment..some of the best acting you're likely to see this season...” - San Jose Mercury


“...it's Dines' underlying portrait of the pain of being out of action that fuels the regional premiere that opened Saturday...scenes between Sarah and James are rich in nuanced levels of physical, emotional and psychic trauma, they also crackle with the crisp wit of literate, widely traveled New Yorkers...Dines and Phillips dig into the bonds and fissures between Sarah and James in evocative depth...Dines commands attention with eyes ever on the watch for just the right camera angle. Her Sarah remains riveting to the end.”  - San Francisco Chronicle


“Dines is a tour-de-force, allowing her chronic physical and emotional pain to inform every choice, every turn, every critical decision.” bayareaplays.com


“Four superb actors deliver compelling work in this sometimes funny, sometimes heartbreaking work. Dines and Phillips spar deftly as longtime lovers and friends, fleshing out their characters believably and with precision.” - Palo Alto Weekly


“Dines and Phillips are astounding, putting on stage the kind of acting that leads to adrenalin rushes in the audience...Dines fully realizes her highly intelligent, prickly, driven photographer.” - Triviana.com


The quartet of excellent actors renders Margulies' words with the granular subtlety the nuanced script requires.

- Out & About Magazine


“This local production is stronger than the star-studded New York production I saw two years ago... - Daily Post

other roles...

BEST ACTRESS - Alexa Vere de Vere in AS BEES IN HONEY DROWN


“Dines plays this outsized ego, this charmer, this con woman with an air of unassailable confidence and slick sophistication. its a tour de force portrayal of a character who has been described as a combination of Sally Bowles, Holly Golightly and Auntie Mame.”  -  Aisle Say


“Dines gives one of the years best performances in this knockout role, superbly blending Alexa’s fictive details into a whirlwind of charming destructiveness and resonant emptiness.” -  San Francisco Guardian


“Dines is a wonder of nature and artifice, radiating more heat than a nuclear submarine as she pinballs her young charge though the Manhattan high life.”  - Palo Alto Weekly


“...its all about sleek hyperbole and Dines delivers it with high-strung glee.”   -San Francisco Chronicle

“...a magnificent delight...bright tour de force of Hollywood impersonations.”  -San Francisco Examiner


“Dines shows a Tracy Ullman-like versatility as she slips on personalities like Cher goes through Bob Mackie outfits.”

-San Jose Mercury News


”The actress is a dynamo on stage making all the right moves as she wheedles and charms and rants and dazzles with her presence and panache...”  -San Mateo Times

GOOD PEOPLE (Margie Walsh)2014 - TheatreWorks

by David Lindsay-Abaire       Photographs by Kevin Adamski and Charr Crail


“Rebecca Dines, in an achingly honest, memorable performance...Dines shines as a wounded Margaret—so much so that, in a moment when her character breaks down, the audience lets out a collective moan of painful recognition.” - Sacramento News & Review (5 of 5 stars) [Read the review]


“Rebecca Dines gives an amazing performance as Margie, with a thick Southie accent...and a sense that life just keeps beating her down over and over again but she is determined to fight back. Dines’ performance is one of those that, years later, you will remember and say smugly that you were there to watch her...tightly directed, wickedly funny, painfully seriously, deeply moving and, ultimately, decidedly memorable.”  - Davis Enterprise [Read the review]


“Ms. Dines, in particular, gives a remarkable performance. She is in every scene and fully embodies the woman whose instincts are to be a good person...a mind-bending, thought-provoking, highly entertaining evening of great theatre...”  -The Sacramento Gazette


“This excellent Capital Stage production features a fine performance by Rebecca Dines, who we used to see playing eloquent Shakespeare heroines. Now, Dines plays a struggling woman who never went to college...riotously funny...touching...” Capital Public Radio

FALLEN ANGELS (Jane Banbury)2015 - TheatreWorks

by Noel Coward     Photographs by Kevin Berne


”...Dines in an exuberant, madcap performance...a tour de force...wildly incandescent and hilariously physical, while delivering the gorgeous language in high style...” - out and about magazine.com


“...Rebecca Dines dazzlingly plays Jane...”  - Talkin’Broadway


“Not many actors can get away with the style of comic acting seen in TheatreWorks’ production...but Rebecca Dines and her colleagues do so with hilarious results...with Dines seemingly able to move her body and face any way she wants...” - For All Events (Richter)


”...downright delightful...the women launch into one of the great comic drunk scenes, and Overman and Dines exploit  - in the best possible way - every hiccup, pratfall and drunken outburst.”  - SFGate (Jones)


“Dines is a hoot as Jane gets ever more imperious as she gets plastered...” - San Jose Mercury (D’Souza)


“...a riot from start to finish, with superb performances, requisite Coward cleverness and an entire act where Jane  and Julia  get gloriously plastered.” sftheatreblog.com


“...sublimely hilarious...brilliance of the physical comedy...Dines, whom we have seen as a deadly serious combat photographer, in "Time Stands Still," waves a long, slim arm in panic, and we convulse with laughter....” - triviana.com (Orr)


“The cast delivered such killer performances that this two hour production just flies by.” - Stark Insider


“...fantastic slapstick that is worth the price of admission...hilarious drunk scene to end all drunk scenes...delightful...”  - For All Events.com


“...furiously funny and a must-see...stellar cast, inspired direction...extremely high production values...” - theatreeddys.com

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MUD BLUE SKY (Sam)2015 - Aurora Theatre Company

by Marisa Wegryzn     Photographs by David Allen


”..Dines displays her considerable comic abilities...greatest pleasure comes from watching these four talented actors under the direction of artistic director Tom Ross.”  - For All Events (Richter)


”Ross and the actors keep the focus on the undercurrents developing between the characters...very funny and heartwarming...well-served by its cast and creative team” - SFGate (Hurwitt)

“...Dines brings such an electric quality to her character...” - Stark Insider (Webb)


"...Dines is a magnetic, live-wire Sam." - Examiner.com (Rowe)


"...Dines’ steamy and sensitive portrayal...accomplished cast with a keen ear...steering what could be solely a rollicking farce into an unexpectedly gentle salute to motherhood, sexual desire and kindness among strangers..." - SF Weekly (Fancher)   [Read Review]



“Astutely directed by Tom Ross, "Sky" soars in its regional premiere...”  - San Jose Mercury (D’Souza)


“...knockout production...a 95-minute delight...wildly funny...” - HuffPost.com (Stutzin)



“...a production that never falters in its 95, uninterrupted minutes.  Bay Area stage favorite Rebecca Dines brings...sassiness....a delicious sexy attitude...All it takes is a phone text from her son for Ms. Dines to show us the real Sam underneath the glitz and the smiles.” - Theatre Eddys (Reynolds)


“...Dines’ Sam...is marvelously flamboyant, sexy...” - MarinScope (Weingarten)



“...flighty (pun intended) co-worker, single parent Sam (well-acted by Rebecca Dines)...one and one-half hour, production flies by...” - Berkeleyside (Mendel)



“Rebecca Dines is pitch perfect as the free-spirited Sam...” - Talkin’Broadway (Connema)

BEST SUPPORTING ACTRESS - Lorraine Sheldon in THE MAN WHO CAME TO DINNER


“Dines deserves best in show honors for her turn as Lorraine Sheldon, the greedy but gullible sex goddess...she makes everything around her funny, the telephone she grabs like a life preserver that’s already sinking, the silly long train of her gown, a muff and segmented fur coat that swallow her up like a cocoon.” 

- San Francisco Chronicle.


“Rebecca Dines as Lorraine Sheldon is an utter sparkling delight. Her Lorraine is a composite of every glamorous, scheming, gorgeous whoring starlet imaginable. Dines’ every movement is borne of exquisite comic timing.”

- Bay Area Reporter


“Dines performance as the outrageous, self-centered actress with a risqué reputation is another tour-de force.”

- San Mateo Times

GOD OF CARNAGE (Veronica) 
Pacific Repertory Theatre, 2012
by Yasmina Reza

“All four are in top form with a terrific script that swings from hilarity to pathos without missing a beat...masterfully directed by Kenneth Kelleher” - The Monterey County Herald
WHY WE HAVE A BODY (Renee)  
Magic Theatre, 2011
by Claire Chafee

“...beautifully crafted production...English's wary vulnerability and Dines' wry certainty turn metaphor to stage magic.  - San Francisco Chronicle
“ The scene on the airplane between Lili and Renee – so perfectly performed by English and Dines – is incredibly sexy, as is the following scene...The fine quartet of actors ...create characters that you care about.”  -  theatredogs
“Renee, played with captivating alacrity by Rebecca Dines...”  - Jean Schiffman
“Delivery by...English, Dines, Holt, Mason — is strong, and occasionally even electric.”  - starkinsider
THE ELEPHANT MAN  (Mrs Kendal) 
TheatreWorks, 2007
by Nicholas Wright

“Dines brings to the character of Mrs Kendal a fragility that remains fiercely hidden...she exudes confidence, vanity and snobbery...a vulnerability that Dines plays with sublime subtleties.”  - WCities
“Dines excels as the breathless, intellectual and kindhearted actress Mrs Kendal...there is obvious chemistry between the two on their first meeting.  Their scenes are the highlight of this two-hour play”.   - talkin’ broadway
“...played to droll perfection by a superb Rebecca Dines.”  - Mt. View Voice

THE GOD OF HELL (Emma) 
B Street Theatre, 2006
(by Sam Shepard)    (Memorable performance of 2006, Marcus Crowder, Sacramento Bee)
“Dines finely holds the play together as the wary but confused Emma.”   - Sac Bee
“First rate cast...Dines, who is the heart and soul of the play, adds real pathos.”   - News & Review
SHAKESPEARE IN HOLLYWOOD (Puck)  
TheatreWorks, 2005
by Ken Ludwig

“Dines’ warp speed timing, facial expressions and mobility are particularly amazing.”  - Los Altos Town Cryer
“Dines’ expressiveness and broad physicality make for a very funny embodiment of a well-know character.”  - Palo Alto Online
“Don Carrier as Oberon and Rebecca Dines as Puck...are fantastically cast.  Dines is hardly recognizable as the star struck prankster.”  - Mt. View Voice
“Rebecca Dines pricelessly plays Puck (you know, like Mary Martin played Peter Pan) with roguish and impish delight.”  - San Francisco Bay Times
THE SISTERS ROSENSWEIG (Pheni) 
Theatreworks, 2005
(by Wendy Wasserstein)


“When Healey, Edwards and Dines are on the scene Kelley’s production is captivating.  These three fierce actresses burnish the plays charms to a high comic gloss.”  - San Jose Mercury
Rebecca Dines is quirky and engaging as Pfeni...a sharp, imaginative actress.” - Palo Alto Weekly (Kirby)
PRESENT LAUGHTER (Liz) 
Theatreworks, 1998 (with Mark Carpri)
(by Noel Coward) (Bay Area Theatre Critics Circle Award) 

"Warm and attractive, Dines is a captivating presence throughout." 
 - San Mateo Times
“...Dines turns in a near flawless performance.. Dines comes on the stage all captivating presence, sparkling intelligence, elegant movement and stylish delivery. She tosses off Cowards's lines naturally and effortlessly with impeccable timing all the while looking stunning in a series of (Fumiko) Bielefeldt’s flattering outfits.”  
- Kelly Snyder/Freelance
"Dines brings a lot of heart to the nattily dressed spouse."  - San Jose Mercury News
PSYCHOPATHIS SEXUALIS  (Ellie)  
Theatreworks, 1999
(by John Patrick Shanley)


“...Dines shows herself the master of comic timing and understatement.”  - Aisle Say
“...Dines’ sexy portrait of a charming and sophisticated woman.”  -  Los Altos Online
“...another subtly sublime performance from Rebecca Dines.”  - Palo Alto Weekly
THE REAL THING  (Annie)  
Marin Theatre Company, 1998
(by Tom Stoppard)

“The main event is Dines’ extraordinary work as Annie. She penetrates to the bravura soul of this lusty, clear-sighted Actress with both fire and nuance.  In this go-round,  she’s the real thing.”  - San Francisco Bay Guardian
“Dines is a wondrously bright, alert, sexy and determined Annie...”  - San Francisco Examiner
ONCE IN A LIFETIME (May Daniels) 
Theatreworks, 1997
(by George Kaufman and Moss Hart)

“Dines imbues spunky leading lady May Daniels with a happy-go-lucky touch of Carole Lombard” 
- MetroActive Stage
“Dines’ delivery as May is so brassy & whip-smart that at first, its a little grating, but her well-projected New York cant becomes downright infectious and she is truly the soul of the show.”  - Palo Alto Weekly
“Dines considerable charm, impeccable timing and affecting delivery gave the play its heart.”  
- Redwood City Tribune
WIDOWER’S HOUSES  (Blanche) 
Aurora Theatre, 1997
(by George Bernard Shaw)

“As the abusive and hotheaded Blanche...stiff upper lip firmly in place - Dines is electrifying. She finds every nuance in the comedy and fierce drama of her character.”   - San Francisco Chronicle
“...riveting performances, especially...Dines as the hateful yet somehow magnetic Blanche.”  - East Bay Express
THE PHILADELPHIA STORY  (Tracy) 
Pacific Alliance Theatre, 1996
(by Philip Barry)

“Dines is here to to grab up the entire cast and pull Barry’s creaky high society bowl of warm milk to the level of raspberry daiquiri complete with paper parasol.”  - The Voice
MRS KLEIN  (Melitta) 
TheatreWorks, 1994 
in loving memory of Miriam Babin, a beautiful woman and superb actress.
(by Nicholas Wright)

"Dines interacts uncommonly well with (Miriam) Babin, she slides from grown woman to unhappy daughter to grown woman in a key second act scene that never hesitates and never challenges credibility - features an astounding trio of actresses who achieve perfect resonance together."   - Palo Alto Weekly
"...a fine performance that blends impulsiveness with high intelligence"  - San Francisco Chronicle
LEND ME A TENOR, (Maggie) 
Sierra Rep, 1992
(by Ken Ludwig)

"...plays Maggie, an ingenue with a touch of Myrna Loy...smashing and stylish as Maggie, just right for the 1930’s setting and a perfect mix of innocence and class"   
- Union  Democrat
"...Dines found more comedy in the ingenue role than the script defined"  
- Dramalogue
“All four women are ideal. Dines is a total delight as Max's fluttery fiancee.”  
- Modesto Bee
DIAL M FOR MURDER, (Margot) 
Garbeau's, 1992
(Frederick Knott)
“Margot is played with dynamic originality...Dines brings the character vibrantly to life"   - Sacramento News & Review
LOVERS AT VERSAILLES  (Isobel)  
Laguna Playhosue, 2003
(by Bernard Farrell)
“Blessed with a gifted cast...able comic support from the frenetic Dines and Ashton.
STONEWALL JACKSON'S HOUSE (Claire et al) 
Eureka Theatre, 1999
(by Jonathan Reynolds)
“Dines is a particular delight as a provocatively sexy English visitor with her own take on Americans passion for ethnic-identity politics. "You seem to forget," she observes, "that loathing one's own heritage was precisely what was unique about the founding of your country."  - San Francisco Examiner (Hurwitt)
“...Dines, last seen in TheatreWork's Psychopathia Sexualis deftly jumps from redneck Civil War enthusiast Mag to stuffy British theatre professional Claire, who laments that America forces the subject of race relations on the rest of the world because,...”you have all the satellites" -  San Jose Mercury (de la Vina)
LAKE NO BOTTOM (Petra) 
Spreckles Performing Arts Centre, 1996
(by Michael Weller)
“...the cast make it all seem natural. ...all three are polished professionals with a sure grasp of the many nuances and mood shifts Weller demands of the the cast. Its a fine piece of work all the way around.”   - Community Voice (Snyder)
“Rebecca dines' inscrutable Petra is absolutely absorbing.  With a throaty voice and droll timing, Dines creates a character who seems almost worth all the child's play that she draws from the two grown men scrambling after her.”  
- Sonoma County Independent
“...But it is bored, impulsive seductress Petra (the remarkable, husky-voiced Dines) who prods the emotions of the two men and sets the plot to simmering.”  
- San Francisco Bay Times (Price)
“Dines, in a fine performance that exudes the stifled potency of Petra in exile is the sparkling country hostess, makes her feline sensuality a window into something sad and self-knowing about Petra.  - San Francisco  Chronicle (Steven Winn )
ARCADIA - (Hannah Jarvis) 
Sierra Repertory Theatre, 1997
“Rebecca Dines gives a splendid performance as Hannah Jarvis, a brilliant but somewhat inhibited author and researcher.”  - The Record
“.....Dines leads the 20th Century group with a sleek performance as a testy scholar. - Modesto Bee

BAD DATES By Theresa Rebeck (Haley Walker) - 2007

by Theresa Rebeck



“...played with tireless invention.  Dines is a formidable comic talent, able to move us.” - The Ptich


“Australian-born actress Rebecca Dines is outstanding in the role making the character totally believable right down to that Texas accent” - The Spectrum


“Dines’ ability to speak Rebeck’s language with maximum clarity while injecting occasionally explosive flashes of physical humor is most impressive.”  - KansasCity.com

“.. She is a winsome and beautiful woman and her expression and drama brings empathy from the audience...Definitely not to miss, folks...kconservative

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GOOD PEOPLE (Margie Walsh) - 2016 - American Stage Theatre Company

by David Lindsay-Abaire   Photographs by Joey Clay & Kara Goldberg

    Miraculous Rebecca Dines in David Lindsay-Abaire's Powerful GOOD PEOPLE at American Stage” Dines as Margie gives one of the best performances I've seen since reviewing for BWW (over two years). You understand her in the same ways that you connect with a good friend who may drive you crazy...there is an adorable shyness that sometimes seeps through in Dines' performance.  She's real--a person...direction is close to flawless, with masterful staging and actors at the top of their game....GOOD PEOPLE is the reason we go to the theatre...a home run....lives and dies on Margie...”  - Broadway World


“...5 Stars - Rebecca Dines as Margie is breathtakingly complex: sympathetic yet insensitive, noble but thin-skinned, cautious at key moments and then bitterly aggressive...On every level this production shimmers with professionalism...”  Creative Loafing-Tampa

“...a deft and complex portrayal by Rebecca Dines....Through hundreds of tiny articulations and inflections..a grounded, coherent production that is both thought provoking and a pleasure to watch...Top tier performances across the board.”  - Tampa Bay Times

Dines underscores the character’s intricacies with a Margie that can be simultaneously heartbreaking and infuriating...Margie is exasperatingly complex...compelling production...as funny as it is riveting.”

  1. -TBNewspapers

American Stage's production delivers all of its emotional highs and lows...do not miss this brilliant production.” - Talkin’ Broadway Florida West Coast

Bay Area Theatre Critics Circle Awards
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STUPID FUCKING BIRD (Emma) - 2017 - Capital Stage Company

by Aaron Posner   Photographs by Char Crail


      “Capital Stage’s ‘Stupid F##king Bird’ Soars.....Laugh Your Feathers Off”

“...hilarious...it’s pretty f-ing brilliant. - Davis Enterprise


...Directed by Michael Stevenson, the company’s producing artistic director, the production is first-rate in every respect.  If you don’t like Posner’s adaptation, it won’t be because of the quality of the production. I am rarely disappointed by the productions at Cap Stage, but this one merits special praise......The cast is a true ensemble, with all seven roles...fully developed...this production should not be missed....   - The Marketplace


5 STARS “...quirky and irreverent...the surprise is how much we are emotionally drawn into its plot and characters even when the theater’s “fourth wall” is constantly being broken...under the carefully focused guidance of Capital Stage Director Michael Stevenson and nuanced performances by the talented seven-member cast.  

-  News & Review


“...This Capital Stage production is fueled by marvelous performances, sometimes wistful and introspective, other times raucously absurd...”   - Capital Public Radio


“...Director Michael Stevenson’s production flows seamlessly through the shifting tones, giving Posner the best presentation possible...The production is outstanding on many performance levels, particularly the seven-person cast...there are sparks in every performance...” - Sacramento Bee