"A Reading List for the Outback Housewife", 2012.

"Sneakyville is never anything less than a confronting and challenging piece of theatre, creatively staged and ambitious in scope and scale." - Milkbarmag/Lachlan Baynes (Sneakyville)

"A masterful retelling... Bryant renders the voices of Manson and the Family with a concise ear for rhythm and cadence, acutely capturing the jinky, poetic tumble of messianic pop philosophy... [Sneakyville] creates an air of clinical detachment, suggesting a forensic investigation as well as the impenetrability of historical events and the blurriness of recollection." - Witness Performance/Rob Reid (Sneakyville)

"Director, Daniel Lammin, hasn’t directed a comfortable show... and it shouldn’t be comfortable, either. Neither is it gratuitous. It would be easy to go for shock, but in giving us uneasy moments of dark and light, Sneakyville proves to be a more rewarding destination" - David Collins/Arts Review (Sneakyville)

"The audience never gets lost in the fantasy of the show and keeps it grounded enough to ensure that there are still plenty of surprises to be uncovered. Even those familiar with this particular moment of history will find enough in Bryant's script to satisfy their dark urges, and leave you questioning if Charles Manson really is "only what lives inside each and every one of you"." - Myron My (Sneakyville)

"Sneakyville is at once a visceral experience and an intellectual and emotional challenge. ... Christopher Bryant isn’t the first to delve into our fascination with horror, the thrill of violence and the seductions of psychopaths – but he does it with incisive originality" - Michael Brindley/Stage Whispers (Sneakyville)

"You know that you’ve seen a good piece of work when you come away questioning you’re own interpretation of reality and considering that maybe everyone has the potential to be Charles Manson... I would highly recommend Sneakyville, for its political sociological and criminological themes along with some brilliant writing, performance and artistic vision" (4.5 stars) - Jemma Baker/Theatre People (Sneakyville)

"[Sneakyville] has strokes of imaginative genius" - Cameron Woodhead/The Age

"The Old 505 has a real hit on their hands with Home Invasion. It's a smart, electrifying production that punches well above its weight in the realms of indie theatre." - Emma Caldwell/Weekend Notes (Home Invasion)

"For a play to balance dark, worrying concerns about consumer and patriarchal brutalism with a laugh-heavy pop confection is no easy feat, and this production of Home Invasion comes together like a dream. You’ll never have more fun exploring the many ways our society sells itself out." - Cassie Tongue/Timeout (Home Invasion) 

"A powerful collaboration offering a series of striking imagery... Home Invasion depicts female subjugation in contemporary terms, as an operation inherent in processes of commodification and of the media. It is true that we are in danger of having our minds clouded and capitalised by institutions that will benefit from our delusions, but we must believe that resistance is possible, and necessary. Where the show ends, is where we begin deducing alternatives for our aftermath." - Suzy Goes See (Home Invasion)

"Christopher Bryant pulls them together in a coup that successfully marries pop culture with social satire" - The Buzz from Sydney (Home Invasion)

"Christopher Bryant's HOME INVASION is a deliciously constructed work that has a savvy eye on the 'networks' of influence of our daily life, and not only satirises, but critiques that, with a humanist concern for the handcart, that we have sat ourself in, and are permissively unconcerned about - perhaps, blithely unconcerned about - the gathering speed of the careening of our culture - species - towards hell... catch this remarkable play and production. You will be challenged. You will be rewarded." - Kevin Jackson's Theatre Diary (Home Invasion)

"Caustic, cruelly funny and handsomely delivered in a spare but technically pin-sharp production" (3.5 stars). - Jason Blake, Audrey Journal (Home Invasion)

"A hard hitting drama... a genuine, moving performance" (4 stars). - The Advertiser (Intoxication)

“Bryant is beautifully articulate... Intoxication is a well-written and well-crafted piece of theatre" (5 stars). - Adelaide Theatre Guide (Intoxication)

"Intoxication is a daring experiment in audience unease, told with poise and care." - Glam Adelaide (Intoxication)

"[Bryant] combines camp humour, soul-baring revelation, distilled insight and hard-won wisdom. Gay men will find much to recognise in this deeply personal introspective." - Cameron Woodhead (Intoxication)

"Intoxication's story is honest & moving without being sentimental or indulgent. A doctor said Bryant might not write again after a brain injury. I'd like the doc to see this." - Anne-Marie Peard (Intoxication)

"There were moments that if the audience had been sitting in the dark, I might have teared up at the honesty about his pain. But if we'd been in the dark, we could have hidden and Bryant doesn't want that. He wants openness and honesty. And in that small room, under bright lights, that's what we got. [...] Bryant is charming and awkward. The show, intoxicating." - Keith Gow (Intoxication)

"[The Mutant Man is] a gripping and thought-provoking 70 minutes, and well worth a visit." - blogoftheatrethings (The Mutant Man)

"In Christopher Bryant’s dark, expressionistic thriller The Mutant Man... The writing is tight and at times poetic in its use of repetition and rhythm." - British Theatre Guide (The Mutant Man)

"I do admire a play - and production - that isn't afraid to make its audience work... a densely constructed and thought-provoking sense of theatricality." - Ian Foster (The Mutant Man)

"[The Mutant Man] - pertinent as ever – 100 years later – as it draws some uncomfortable parallels to the world today." - Amy Ashenden, The Evening Standard (The Mutant Man)

"Christopher Bryant’s multi-award nominated script embraces ambiguity and invites discourse about the non-binary nature of gender. The Mutant Man questions our understanding of gender, and even though the events in the play took place about a hundred years ago, in our current political climate Harry Crawford’s story feels more urgent than ever." - Daniel Perks (The Mutant Man)

"[Christopher Bryant's] Intoxication is a fascinating study of social disconnection via gay online dating + a real-life experience of brain trauma. It's beautifully made: funny, too-smart and at times quite shattering. Def check it out." - Declan Greene (Intoxication)

"Bryant is talented, insightful, and pulls no punches. Seriously. BOOK." - Hannah Malarski (of Bagabus Inc.) (Intoxication)

"Forbes, Hack and Bryant are engaging on stage and the interactions they do share have a nice authenticity to themBryant is a talented and thoughtful writer and I would love to be able to read the script to Intoxication so I could fully comprehend everything that he has to say. Every line uttered has importance and carries much weight." - Theatre Press (Intoxication)

"Bryant is unapologetic about his unabashed attack on an ever increasing tendency to worship and emulate celebrities; a phenomenon which preys on the vulnerable. The sophistication and wit of the language is delivered in an array of revealing monologues or vignettes that depict behind-the-scenes conversations or intimate exchanges between characters." - Stage Whispers (Home Invasion)

"Christopher Bryant offers a searing piece about a man named Arman who finds himself trapped between two nightmares; a homeland filled with torture and pain in prison or a new world filled with mental torture and pain in prison." - Lisa Thatcher ("63 Days" in Apocalypse Theatre's ASYLUM)

"The humour is... completely inappropriate but also indiscriminate, targeting Jews, Nazis, homosexuals, Germans, mothers, fathers, and children, and the cast make no apology for this in their performance. Christopher Bryant’s physicality as well as his timing resulted in him delivering some of the show’s most controversial lines, jokes about incinerators and death camps, with comedic flair." - Theatrepress (Third Reich Mommie)

"Exactly the piece of glorious unhinged codswallop it promises to be and is well worth a look this Midsumma festival." - AussieTheatre.com (Third Reich Mommie)

“The dialogue is witty and sharp… there’s blood and murder… divorce, affection, self-loathing and alcoholism, all which interact powerfully in the intimate space to reveal a disturbing truth.” – Izzy Tolhurst, Inpress Magazine(Acidtongue and Dollface).

Eulogy highlights the playwright’s flair with words as well as showing his photographer’s sense of space, light and mis-en-scene. The powerfully written four-monologue script about loss in everyday lives is performed insightfully.” – Benny Dimas, Lot’s Wife. (Eulogy).

…a blood fest full of sadistic, satirical lines and laden with crudities; all in good jest! [It]promises to keep you enthralled and engaged, transporting you into some sort of Scary Movie 10 stage show, where the unexpected will normally occur.” – Sally Wilmott, Midsumma Review. (Rigor Mortis). 

"It is his acting, however, that Bryant really must be commended for, with his talent carrying the show well above what it would otherwise have been. The character of Parker Baudelaire lit up the stage each time he appeared and brought a buzz of energy to the room." - Maddison Snook, TheatrePeople (Rigor Mortis).

Rigor Mortis is bad and funny: trashmeisters will glory in its camp excesses, and there’s a rabid commitment to kitsch in the acting that might impress even serious-minded theatregoers. …it’s performed with tasteless glee. Glitter! Braaiiinnnns! What more could you want?” – Cameron Woodhead, The Age(Rigor Mortis).