The 2019 Humana Festival for New American Plays - Walking the Line

By Kate Bergstrom, Santa Barbara Independent

 “In a late night and mid-morning offering, the incredible Will Davis directed the apprentice company a dreamlike march into Kara Lee Corthron, Emily Feldman and Matthew Paul Olmos’ strong and unique interrogations of what “We’ve Come to Believe.” The piece breathed life, literally, into inquiry with moments of lovely dark comedy and surprise encased in tight ensemble work.“

BWW Review: EVERYBODY BLACK at Actors Theatre Of Louisville

BWW Kentucky 

 “As a White reviewer, I have to acknowledge that I may be missing some of the finer points of Harris's work here. I recognize many of the false histories on display, and I can laugh easily at how he mines minstrel show strains in popular culture or the more covert racism of the milestones of inclusion celebrated through recent "history" - you could write a lengthy article on the 2019 Oscars alone, and I am confident that Harris and Timpo are pitching to a wider, more diverse audience than just Black Americans. But, in this skin, I can never truly identify with how it was to experience these subjective histories and entertainments and how much Black culture has constantly been compartmentalized - kept in its place, as it were. Not everything fits into this "Canon", but Everybody Black forces us to confront how much has indeed been boxed in. We are prone to mistake complacency for progress.”

BWW Review: WE'VE COME TO BELIEVE at Actors Theatre Of Louisville

 By Keith Waits, BWW Louisville 

"It has been a tradition for some time that the last show to open in the Humana Festival is the Apprentice showcase, and if the reasons for reversing that tradition is due to logistics, it still satisfies another observation I have often made: that the opening show is usually a more accessible, crowd-pleasing comedy. We've Come to Believe fits that description, especially in the high-energy, vividly funny performance of the Professional Training Company. Although a few had stand out moments, this production uses them as a true ensemble, moving through physical and vocal choreography in unison or in contrast as the moment demands."


By Keith Waits, Arts-Louisville

 3:59 am: a drag race for two actors, by Marco Ramirez (directed by Shareef Elkady) was a tour de force of mirrored physically and vocally adroit performances by Seun Soyemi & Josh Fulton. I have no idea if this lyrical, poetic piece was written specifically for two young Black men, but it begins in stillness then moves into hyperdrive before landing again in repose, all the while feeling not just an examination of masculinity in general, and I honestly don’t know if the fact that the actors were African American lent it a specific cultural flavor or not. In any event, Soyemi and Fulton do good work here.


REVIEW: ‘Pipeline’ Is A Hard Look At A Situation With No Easy Answers

By Minda Honey, WFPL News

Dominique Morisseau, playwright and 2018 MacArthur Foundation “Genius Grant” recipient, serves as a conduit between the souls of black folk and the stage. Her most recent play opened at Actors Theatre Thursday night. “Pipeline” is the story of New York City high school teacher Nya (Patrese D. McClain) determined to save her son, Omari (Cecil Blutcher), from the school-to-prison pipeline that threatens to sweep away the potential of our black youth.

BWW Review: PIPELINE at Actors Theatre Of Louisville

BY Keith Waits, Broadway World

If Actors Theatre were to make an annual tradition of producing the latest Dominique Morisseau play every January, it would be a reason to rejoice. One year after the indelible Skeleton Crew, director Steve H. Broadnax III, and actor Patrese D. McClain have returned with Pipeline, an even stronger play that implodes the narrative clichés that have weighed down African American stories for generations.

More than Monologues: ‘Solo Mio’ RoundUp

By Alex Roma, Leo Weekly

“There’s no tokenism here, though Seun Soyemi’s “I Am Not Your Teacher” plays out a horrifying look at what tokenism can become. Throughout the series, there are multiple takes on immigration, on the black experience, the search for representation and the fears women and people of color feel in a society that’s so violent toward them. The plays don’t shy away from controversy and neither does the cast.”