God of Carnage Reviews!
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"And boy, does this production have the right people for the job. This well-oiled theater machine of an ensemble, expertly guided by director David Magidson, plows through the show's 90 minutes with energy and skill to burn." - AnnArbor.com
"One particular highlight was the return of Phil Powers to the Network's stage in the role of Alan, a self-absorbed, workaholic lawyer whose cell phone seems to be a permanent appendage." - Heritage Newspapers
"This is the kind of play we love to see at the Performance Network Theatre - which has something to do with its intimacy and everything to do with its habit of producing one excellent show after another." - Examiner
"Played in a single act, God of Carnage packs a lot of comedy into a small package." - Encore Michigan
"Indeed, with such appealingly appalling material - sneering courtesy, gorgeous visuals, uncontrollable tantrums, a completely interactive environment, bacchanals of revulsion, and exhaustive character work so dense and effective, it may escape the viewer's notice - it's a marvel that the only awful thing to say about this production is how awfully funny it is." - The Rogue Critic
"I had an opportunity to see the movie earlier this month during an advance screening, but I much prefer the play." - Detroit Free Press
Ain't Misbehavin' Reviews!
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"Fats Waller may not be around to enjoy the results of this across-the-board collaboration at Performance Network, but we are. Lucky us." - Encore Michigan
"The Joint is Jumpin' is not only the name of one of the many Fats Waller tunes featured in the Tony Award-winning musical revue Ain't Misbehavin', but is also an apt description of the scene inside Performance Network, which is now offering a joyous, wholly satisfying production of the show ... of the handful of different Misbehavin' productions I've now seen in recent years, PNT's is clearly the best, thanks to [director Tim] Rhoze's vision, and his team's execution." - AnnArbor.com
"Darrian Ford is a triumphant clown in his go-for-broke solo regarding an illicit substance, whereas James Bowen sells a cosmetic complaint with stylized lyric readings and hilariously disgusted faces. K Edmonds' kittenish turn at an amorous request is unbearably sexy in its stillness and understatement, a number that holds amazing parallels to Kron Moore's heartbreaking, emotionally beaten down ballad about a cruel lover. Jennifer Cole takes what could have been a merely oblivious character and makes her the ineffably proud center of her own delightful little world, poised to be an instant favorite." - The Rogue Critic
"We doubt that PNT wants to get into the speakeasy business, but we can easily imagine coming back to see this show every Saturday night." - Examiner
Time Stands Still Reviews!
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"I knew very little about Time Stands Still before I attended the opening night performance at Performance Network Theatre. But one look at the show's pedigree - direction by Kate Peckham, with Suzi Regan and John Lepard in the lead roles - and I went in expecting an excellent night of theater. I wasn't disappointed." - Encore Michigan
"Regan and Lepard are a dream team duo. Regan makes Sarah's constant need to keep moving and put herself in harm's way a vulnerable, sympathetic quality that hints at a painful past - one she'll likely never fully come to terms with; and Regan's subtle work in a moment near the play's end, when she looks into the face of Mandy's baby, is heartwrenchingly powerful. Lepard, meanwhile, deftly paints a portrait of a man who, after a dark night of the soul, is in the midst of a significant change that he knows will threaten the balance." - AnnArbor.com
"If this opening production is any indication, audiences certainly have much to look forward to this season from one of the best regional theaters around." - Dexter Patch
Marie Antoinette: The Color of Flesh Reviews!
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"As the saucy, quick-witted, and ambitious Elisa, Dion reveals a character who is also vulnerable, sensitive, and fiercely loyal, eventually risking her own safety for the sake of her friendship with the doomed queen." - The Oakland Press
"Marie Antoinette: The Color of Flesh is an inventive script. The wit in the first act bubbles like fine champagne in the best tradition of a comedy of manners." - Encore Michigan
"Marie Antoinette: The Color of Flesh, which officially opened at the Performance Network Theatre in Ann Arbor, is an engaging story that is surprisingly funny given the inevitability of its conclusion. This production, directed by Shannon Ferrante with a beautiful set and costume design by Monika Essen, pulls the audience into the story with a compelling, voyeuristic intimacy." - Detroit Examiner
"the play's nineteen years fly by with the aid of Essen's costume design, evolving Marie Antoinette from cherubic young queen to middle-aged target of collective schadenfreude before the viewer realizes it's happened." - The Rogue Critic
"Chelsea Sadler gives her Antoinette a gently regal air, with only a slightly lifted chin and none of the cliches that may still exist in the popular imagination with regard to this particular monarch. In addition, she conveys well the sense that Antoinette was, after all, only human, spoiled in some ways and vulnerable in others." - Heritage Newspapers
"Playwright Joel Gross includes just two additional characters in his study of Marie, played here exquisitely by Chelsea Sadler. The Queen is splendidly attired and coiffured throughout several changes of costume, with designs by Monika Essen. " - New Monitor
