| . | . | . | . | ||||||||
| . |  |
 |
. | ||||||||
 |
|||||||||||
| . |
|
RECENT PRESS FOR SALT THEATER follow links for complete reviews CONQUEST OF THE UNIVERSE - work-in-progress TheaterMania TalkinBroadway ZIPPO SONGS New Beats THE CHERRY ORCHARD Time Out NY STAGE DOOR "Emma Griffin knows how to be theatrical..." - from a profile in Paper Magazine "The first thing you'll notice about Emma Griffin's auteurial style is her comfort with physical space. Her production fully exploits an awkward, pole-ridden black box. Transformed into the Footlights Club—a rooming house for Broadway understudies and leading lady wannabes—the playing area is divided into the common living room, an upstairs bedroom, and a visible backstage dressing area, where the young women function as a kind of chorus to the dramatic action. Between scene changes, actors gather around the piano to sing old standards like "All of Me" and "I Can't Give You Anything but Love." Salt Theater's revival affords the opportunity to see an emerging directing talent in the full sway of her passion for the stage." - The Village Voice "Emma Griffin may be the most radical director working below 14th Street. She has disinterred the sudsy, sentimental 1936 chestnut Stage Door not to deconstruct it or heartlessly camp it up, but to genuinely interpret it. [Maria] Striar gives one of the better performances in a massive, willing cast. Also good are Yuri Skujins as a conflicted Tinseltown producer, Ryan Shogren as an egocentric playwright, Julia Prud'homme in an amusingly eccentric turn as the club's put-upon maid, and Henry Steele, brisk and cutting as a steely Hollywood mogul. But the production would be lost without Christina Kirk, who plays the plucky heroine, Terry Randall. " - Time Out New York INKY "Originality-it's rare. But you can experience the pleasurably sharp intake of breath it brings by seeing Rinne Groff's Inky; full of deft twists, acerbic quips, and a lunge at your guts. Maria Porter delivers witheringly funny lines as Barbara, believably selfish, brittle, and vulnerable. Mahlon Stewart's Clay is nicely snaky. Maria Striar's Inky projects a furtive anxiety and purposeful vigilance that hint at her escape from the abyss. Emma Griffin directs pungently, with style." |
. | ||||||||
| . | . |  |
. |
