"downtown faves since 1992" – The Village Voice
"Susan Bernfield has been producing some of the finest new plays in the country for 12 years…potent new material that aims to reshape how we view theater."
– People to Watch: Susan Bernfield, feature on Theatermania.com
"New Georges has been rocking expectations of performance, artistry, and collaborative possibility for over a decade” – Culturebot.org
on MILK by emily devoti
"Blends realism with a touch of the fantastic… an engagingly original streak run[s] through [DeVoti’s] writing… . " -- The New York Times
"Multi-faceted and dynamic… MILK is rich, unexpected, and often enthrallingly vivid. DeVoti has produced some perfect morsels of dialogue, vivifying characters who raise piercing questions about choice, consumption, death, domesticity, and the decidedly mixed virtues of the simple life." -- The Village Voice
“[An] astute and sensitive new play. Jordan Baker possesses a quiet clarity and affecting simplicity. Peter Bradbury has a sensitivity that makes James's inarticulate yearning quite moving. " -- nytheatre.com
on the diary of a teenage girLby marielle heller,
from the graphic novel by Phoebe gloeckner
"Heartfelt... stings with truth. Laudably approaches [the book's] power."
-- The New York Times
"A 360-degree sensorium!" -- BackStage (Critic's Pick)
" ...the attention to detail in every element of the production -- the absorption in this girl's psyche and her environment -- are uncanny." -- nytheatre.com
on CREATURE by heidi schreck
“[An] absorbing new play … at once lighthearted and serious. " -- The New York Times
"Makes religious fanaticism look like a lot of fun. Some wonderful performances, too—in particular, those of Gomez, Goldstein, and Shamos—add to the high energy."
-- The New Yorker
"Championship acting.... Schreck's script has narrative simplicity, contemporary zing and lyrical flights of startling loveliness." -- Time Out New York
The scenes fly beautifully by -- a tribute to Silverman's assured direction and the almost hypnotic unity of Rachel Hauck's austere wooden sets and Matt Frey's soft-wattage candle lighting." -- Variety
on angela's mixtape by Eisa davis
one of The New Yorker's Best Off Broadway Theater Shows of 2009!
"An appropriately turbulent and quite funny show about the forces that influence the forging of identity. Rich in humor and crazy paradox... [but] the aching sense of casual neglect is unmistakable. "
-- The New York Times
"A revealing portrait of a young artist struggling to find herself. The cast of five women, including the multitalented playwright, is fully committed to what might be the Obama generation's 'For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf.'” -- The New Yorker
"In this radiant writer-performer's autobiographical play, she reveals her personal and political awakening... Liesl Tommy wittily stages the quick-moving collage with an excellent cast. Davis celebrates exactly what you'd expect in this show--sisterhood, social justice, racial pride--but this sly performer suggests there's more mystery in life." -- Time Out NY
on HILLARY: A Modern Greek tragedy with a (somewhat) happy ending by wendy weiner
""A refreshingly funny and unexpected interpretation of Hillary Rodham Clinton's life in politics... after an hour and a half of re-airing the dirty laundry of one of the most overanalyzed figures in politics, who'd have thought we'd be sorry to see the show end?" -- Variety
"The company has found new delights in one of the most familiar seasonal stories of all.... the laughs come steadily." -- The New York Times
"No story is played out if it's played right. Wendy Weiner's Mount Olympus spin on Hillary is cringingly, groaningly fantastic." -- Backstage
on STRETCH (a fantasia) by Susan Bernfield, music by Rachel Peters
"An inventive work, lyrical and stark at the same time." – The New York Times
"Bernfield whittles Woods into a gorgeously limber fantasy ... a characteristically handsome production from New Georges, made even lusher by romantic compositions for strings and electric typewriter. But it's Griffith we're there to see. Woods herself is no match for [the performance]: It's indelible ." – Time Out New York
"A terrifically engaged journey through the landscape of American dreams and disaffection… a gentle play driven by achingly acute questions. A wonderfully designed theatrical world. Griffith is gangbusters." – Backstage
“Stretch is a powerful, painful play. It's no stretch for me to say that it's unmissable. [A] marvelous play.” – New Theatre Corps
on GOOD HEIF by Maggie Smith
"Smith has a strong voice and paints the rural waste-land in intriguingly mythic tones... a finely executed New Georges production." – The Village Voice
"The style of the production, under the imaginative directorial reins of Sarah Cameron Sunde, is broad, but with a serious undercurrent humorously expressed.
Performances perfectly capture the script's ideas. Far out!" -- The Epoch Times
"Lad's excitement is hilarously depicted...[a] funny and imaginative play." – New Theater Corps
on GOD'S EAR by Jenny Schwartz
"a formally inventive and superbly performed drama... making a rather old-fashioned case for the power of the written word." – The New York Times
"What is revolutionary is Schwartz's ability to make linguistic gamesmanship into something profoundly moving... It's a remarkable event, a rare piece of total theater. Take it from my lips: go to GOD'S EAR." – Time Out New York
"It is rare these days that I go and see a play whose voice is so distinct and progressive that I leave the theater with a glimmer of hope for a new theatrical voice for the 21st century. I wish I had a copy of the script so I could better set forth what I was talking about (I also wish I had a copy so I could read it all the time)." – theatre conversation and political frustration
"A playwright to reckon with." – The Village Voice
on DEAD CITY by Sheila Callaghan
"Get ready to take off..... even its space-shuttle-like lobby doesn't prepare you for the ride that is DEAD CITY ... and perhaps that's the production's final triumph: that inside this boxy, futuristic-looking little theater, only a few blocks away from ground zero, the entire dead city comes alive."
– The New York Times
“gutsy… a handsome production.” – Time Out New York (starred listing)
"Samantha's world – ours – springs to dynamic, full-blooded life.... In a way, it's a celebration of the hectic odysseys we all take through Manhattan most days, and even if you think you know your own all too well, there's still something magical about seeing it on a stage before you, and about vicariously experiencing the struggles and small triumphs of some of the usually anonymous people you always see flooding by you as you forge ahead." – Gothamist
“a thrilling theatrical trip …. director Daniella Topol injects the story with elements of surrealism and constructs a vision of solitude — and of the city — that is awe-inspiring.” – flavorpill nyc
on COMMEDIA DELL SMARTASS by Sonya Sobieski
"stellar... one of the most satisfying larks that I've been
present for in quite some time"
– nytheatre.com
"Sobieski's writing balances poetic cadence with pubescent mumbles" – The Village Voice
on THE BEAUTY INSIDE by Catherine
Filloux
“joins a string of exceptional pieces…theater with a purpose.” – The
L Magazine
on THREE SECONDS IN THE KEY by Deb Margolin
"From the first words...the playwright Deb Margolin creates a spell. So why is a fiercely good play like a fiercely good basketball game? We glory in the craft and heart that take us beyond the boundaries of everyday life for a short time." – The New York Times
"Done with great skill by an excellent cast under Julia Whitworth's able direction…belly is first-class non-realistic, expressionist theater."
– The Westsider
on NONE OF THE ABOVE by Jenny Lyn Bader:
"A snappy new comedy by the playwright Jenny Lyn Bader about the risks people end up taking when they're trying to safeguard themselves. With wit and candor, the two characters, brilliantly played to type by both actors, deftly dissect entitlement, intelligence, and isosceles triangles."
– The New Yorker
"Ms. Bader is a bright writer.under Julie Kramer's lively direction, both actors keep their energy levels high." – The New York Times
"To borrow a few words from their SAT test, Pill and O'Neill are so affable and their wrangling so piquant that you hanker to capitulate to this thoroughly recreative endeavour."
– The Village Voice
on SELF DEFENSE or death of some salesmen by Carson Kreitzer,
A Time Out New York Critic’s Pick:
"a sympathetic, even affectionate portrait" – The New York Times
"as polished and professional and assured as Off Off Broadway theater gets." – nytheatre.com
"a brilliant drama…superbly directed…Lynne McCollough[‘s] performance in that role was one of the finest I have seen in many a moon." – The Westsider
on THE HOLY MOTHER OF HADLEY NEW YORK by Barbara Wiechmann:
"Riveting...a serious and moving study of the persistent human need to believe in a power greater than us." – The Westsider
on THE RIGHT WAY TO SUE by Ellen Melaver:
"The Right Way to Sue is the right work to see" – Show Business
"a delightful contemporary farce...Melaver's sensibility and style are dead-on; I look forward to the next product of her outrageously fertile imagination." – nytheatre.com
"a swift and stinging sendup…skilled comic performances" – The New York Times
on ELOISE & RAY by Stephanie Fleischmann, A 2000-01
Village Voice Season Highlight:
"...a finely detailed, layered portrait...Aron delineates these relationships with sensitivity and stages them with visceral physicality... everything comes together in the authentically realized denouement, which reverberates with the layered sorrows of Eloise." – The Village Voice
on EURIPIDAMES by Cusi Cram:
"Her performance equals the strength of her material. She turns tragedies into a triumph."
– The Village Voice
on FISHES by Diana Son:
"An experience made special by both the company’s feminist mission
and its creative sensibilities." – NY1 On Stage
on TOMORROWLAND by Neena Beber:
"an excellent production." – The New York Times
"With Maria Mileaf's snappy direction, each scene reveals a wild alternate reality."
– Time Out New York
on LOVE IN THE VOID: alt.fan.c-love by Elyse Singer & Carolyn Baeumler:
"An emotional ride for the audience." – Entertainment Weekly
"The piece...was terrific." – Sunday View, The New York Times
on THE AUTOBIOGRAPHY OF AI KEN FICTION by Kate Moira Ryan:
"a flair for satiric humor that sends up everything from America's penchant
for synthetic foods to the autobiographies of has-been actresses." – The New York Times
on VINEGAR TOM by Caryl Churchill:
"provocative theater as well as a conscience-baring feminist document." – The New York Times