FOR SNEAKYVILLE:
"Fucking terrifying."
- playwright Stephen Sewell (co-dramaturge of the piece and head of NIDA's Writing for Performance course).
"It's cool, I really dig what you're doing."
- playwright Declan Greene (dramaturgy mentor for the piece in 2015)
"A really interesting piece... I'm impressed by how far it's come."
- director/dramaturge Imara Savage (on the most recent draft after directing the US-A-UM development.)
FOR PLAYWRIGHT CHRISTOPHER BRYANT:
"[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 Greeene (“on INTOXICATION”)
(https://twitter.com/d_cl_n_gr__n_/status/693372484830121984)
“It’s a testament to the skill of director Daniel Lammin that he has tamed the space and the show. The limited lighting is used to great effect and really who cares if the audience has to suspend their disbelief a little more then usual. It’s well worth it. Third Reich Mommie is exactly the piece of glorious unhinged codswallop it promises to be and is well worth a look this Midsumma festival.”
– Kevin Turner, AussieTheatre.com
(http://aussietheatre.com.au/reviews/midsumma-third-reich-mommie)
"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 (on the piece “63 Days” in Apocalypse Theatre’s ASYLUM)
(http://lisathatcher.com/2015/02/04/asylum-one/)
“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 Tolhurt (on “Acidtongue & Dollface”, InPress Magazine)(http://i724.photobucket.com/albums/ww245/christopher_bryant4/acidtonguedollface_zpshdmyyvbm.jpg)
“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 (on “Rigor Mortis”, The Age)
(http://www.theage.com.au/entertainment/about-town/midsumma-festival-reviews-20120126-1qigt.html)
FOR DIRECTOR DANIEL LAMMIN:
“Daniel Lammin’s production of Master Class will delight opera and theatre lovers alike, and audiences will long cherish the memory of Mercedes’ marvellous performance.” (5 stars.)
– Cameron Woodhead (on “Master Class”, The Age)
(http://www.theage.com.au/entertainment/music/theatre-review-master-class-a-masterful-tribute-to-maria-callas-20140821-106l0d.html)
“Director Daniel Lammin’s production is beautifully unadorned and not a single note — musical or emotional — rings false… the execution is perfect.” (4.5 stars)
- Byron Bache (on “Master Class”, Herald Sun)
(http://www.heraldsun.com.au/entertainment/arts/theatre-review-master-class-fortyfivedownstairs/news-story/4d23f43c5b5803a39eb532baf01d04ab)
"It's hard to imagine how anyone could leave this masterfully directed play without feeling affected by the soul of this great artist."
– Bradley Storer (on “Master Class”, Theatre Press)
(http://theatrepress.com.au/2014/08/21/review-left-baeur-productions-presents-master-class/)
“With so much unmissable on in Melbourne this week, it's easy to pass on a student production out at Monash Uni in Clayton. But if you can get a ticket, Columbine is a stunning, moving and highly original piece of verbatim theatre that needs to have a long life beyond this week.”
– Anne-Marie Peard (on “Columbine”, Sometimes Melbourne)
(http://sometimesmelbourne.blogspot.com.au/2013/09/review-columbine.html)