ABOUT: Press

Institutional press

“One of the most unusual arts spaces in New York... the model for the cutting edge arts space of tomorrow”
— The New York Times
“HERE is one of the country's premiere venues for theatrical oddities, a real Frankenstein's lab. And every year, they haul their wonderful creations out of the dark. It's a fun, easy way to see the hungriest artists imagine the future of American theater. ”
— metromix.com
“HERE Arts Center gets our enthusiastic nod this year for best Off-Off Broadway theater.”
— The Village Voice [Best of Awards 2012]

Show press

2014

2013

2012

2011

Mosheh: a VideOpera

Mosheh Slideshow
“[a] compellingly idiosyncratic meditation on Moses ”
— Allan Kozinn, The New York Times
“this multimedia theatrical event will take you on a fantastical journey of the senses”
— nytheatre.com
“Gal's rhythmically intense and beautifully heartfelt music should reward open-minded listeners”
— James Jorden. The New York Post
“Think Robert Wilson...maybe. More to the point, check it out and prepare to be impressed”
— Jon Sobel, Blogcritics Culture

Phobophilia

“[...] this is definitely not one to miss. ”
— Jeremy B. Barker, Culturebot
“Phobophilia is a real treat for the downtown crowd, particularly those who enjoy something different and intriguing. ”
— Joseph Samuel Wright, Theasy.com

CULTUREMART 2011

CULTUREMART 2011 Slideshow
“The generous HERE residency and commissioning programs explode in this orgy of multidisciplinary cross-pollination [...].”
— Time Out New York
“One of the best among the constantly multiplying performance festivals [...].”
— The L Magazine
“Why: Observe an outrageous city council meeting, a marital installation, or the reality show-inspired, multimedia chamber opera about an unsolved murder. ”
— dailycandy.com

Lush Valley

“This could very well be the most ambitious and powerful show of the fall...”
— The L Magazine
“Playing the Lush Valley immigration game can be a lot of fun, like a Hasbro adventure in three dimensions.”
— Jason Fitzgerald, Back Stage
“...at a moment of political and economic disarray, it is heartening to see such a team of downtown theater heavyweights tackling the subject of nationalism so directly...”
— Will Fulton, nytheatre.com

2010

Sounding

Okwui Okpokwasili and Stephen Reyes in SOUNDING
“SOUNDING is the kind of visceral, exciting theatre experience that defies genre or label.”
— Martin Denton, nytheatre.com
“With its visual and aural onslaught, SOUNDING is a feast for the senses.”
— Pamela Newton, Timeout New York

The Fortune Teller

“The Fortune Teller draws you into its world and never lets you go. A splendid time is guaranteed for all.”
— Culturebot
“Grindstaff and Sanko share a perfectionist's vision, and it shows. All elements work together to float the audience into the creepy world of the puppets.”
— WNYC
“To miss it—now that would be a sin.”
— Village Voice
“Grandly satisfying piece of theatre in miniature.”
— Backstage

Tinder

Tinder
“...a mesmerizing fusion of performance art and multisensory installation.”
— The New York Press

As The Eyes of The Seahorse

“[...] it seems every relationship, every crevice of the space and every creative possibility is explored. ”
— examiner.com

Paris Syndrome

“a treat worth indulging in.”
— The Village Voice
“PARIS SYNDROME is playful fun”
— Culturebot

Soul Leaves Her Body

Soul Leaves Her Body
“This is a great example of the kind of hybrid work at HERE aspires to present on a regular basis, it is technologically impressive while being emotionally engaging and accessible. ”
— Andy Horwitz, Culturebot
“[...] after seeing the high-tech Soul Leaves Her Body, I’m still dreaming in images. ”
— Helen Shaw, Time Out New York
“Highbrow/Brilliant”
— on the Approval Matrix, New York Magazine

Aunt Leaf

Aunt Leaf
“offers all the pleasurable frissons of a late-night ghost story. ”
— Laurel Graber, New York Times
“Spine-tingling" is an adjective I rarely use when describing an evening of theatre, sadly, but as the lights rose on Here's production of Aunt Leaf and three ghostlike performers emerged from the creepy haunted house of a set, I felt genuine chills. Even more impressive, playwright Barbara Wiechmann and director Jeffrey Mousseau maintain that deliciously eerie atmosphere for the play's 45-minute duration.”
— Clifford Lee Johnson III, Backstage
“I wish as many 9-year-olds as possible could see Aunt Leaf, for then they would learn how a well-told tale and one's own imagination are all that are required to chill the blood and fire the mind.”
— Clifford Lee Johnson III, Backstage
“...a play for kids that's really for adults, I think. It's not that its story or themes are in any way unsuitable for young audiences: on the contrary, its celebration of the power of storytelling, in whatever unconventional form it may take, is affirming and valuable for people of all ages.”
— Martin Denton, nytheatre.com

Border Towns

Border Towns
“haunting and beautiful.”
— Andy Horwitz, Culturebot
“The evening is carried by ballsiness and showmanship”
— David Johnston, NYTheatre.com
“It’s hard not to be impressed”
— The New York Times, Jason Zinoman
“had me enthralled the whole time”
— CWBS | The City Life

2009

My Life in a Nutshell

My Life in a Nutshell
“Hanne Tierney's evocative puppet play...is at once death-obsessed and jaunty, abstract and full of geometric precision.”
— Rachel Saltz, The New York Times
“..a tender, eccentric, accessible play”
— Alexis Soloski, The Village Voice
“Nutshell weaves vivid projected images and fantastic live music into the narrative. The end result is spellbinding and emotionally engaging. See it and be charmed.”
— Feminist Review

The Lily’s Revenge

Taylor Mac in The Lily's Revenge
“…the riot of styles sometimes clashing and sometimes coalescing during “The Lily’s Revenge” offers so many incidental pleasures that theatrical time — always a curiously malleable element — seems to contract.”
— Charles Isherwood, New York Times
“In its bravery, scope, creativity, extremity and sheer generosity of spirit, The Lily’s Revenge, to my mind, surpasses any American theater in New York this year. Lolling and popping at the bull’s-eye of the show is the playwright himself, one of the most exciting theater artists of our time.”
— Adam Feldman, Time Out New York
“If there were a prize for Most Ambitious Nutty Project of the Year, "The Lily's Revenge" would win, hands down.”
— Elisabeth Vincentelli, New York Post
“intelligent, endlessly surprising, and above all spectacularly entertaining. It inspires hyperbolic pronouncements like "the most important event of the theater season"...and then thumbs its nose at such portentous preposterousness (or bares its bottom; it's that kind of cheeky show, after all)”
— Martin Denton, nytheater.com

machines machines machines machines

Geoff Sobelle on the set of
“Gloriously demented...the actors give intricately nuanced comic performances that are perfectly in tune with the pinballing madness ”
— Charles Isherwood, The New York Times

Removable Parts

Removable Parts
“pleases on almost every level... with an intelligent grace that is as moving as it is impressive”
— New York Times
“...at once uproarious and harrowing...”
— The New Yorker
“Bizarre, complex, and strangely moving, Removable Parts is lyrically brilliant and truly original.”
— Flavorpill
“[T]his may well be the first BIID musical, and quite a successful one.”
— The Village Voice

THIRST: a spell for Christabel

Thirst
“The big finish, which puts Susan Zeeman Rogers’s clever set to the test, is both tragic and optimistic. The last word goes to the poem’s mastiff, played by a flat dog statue, whose growls and other vocalizations are comic high points.”
— The New York Times - Anita Gates

Siren

“I could have sat for hours hypnotized by the final crystal chord of the spinning oscillators.”
— Live Art Magazine

Red Fly Blue Bottle

Red Fly Blue Bottle
“...lyrical monologues, otherworldly videos and an ingeniously eerie set...Red Fly/Blue Bottle is a purposefully elusive work, a poetic meditation...”
— Jason Zinoman
“sweetly strange...a complete, unique universe”
— Alexis Solowski
“Red Fly/Blue Bottle: Genre-Buster...an intriguing, richly layered work of music-theater that resists categorization...”
— Susan Youn
“Eye candy, fantastically creepy music, and an expert dash of steampunk fill the stage in this deliciously haunting concert...”
— Jax

2008

Oh What War

Oh What War
“Lurid, feverish and powerful”
— NYTimes
“A thrilling, complicated, and thought-provoking multimedia [work]”
— Nytheatre.com
“A sensory coup that is best experienced by letting it simply wash over you”
— CurtainUp

837 Venice Boulevard

837 Venice Boulevard
“Ms. Driscoll’s rigorous exploration of this physical – and, it seems, mental – manipulation feels startlingly original in it’s peculiar configuration of slapstick and darkness.”
— New York Times
“No to prettiness, no to glamour, no to glistening muscular limbs. Yes to intensity, yes to body heat, yes to wildness, freedom and in your face defiance. Faye Driscoll has produced a giddy anarchism.”
— Dance Magazine

Arias with a Twist

Arias with a Twist
“Eat your heart out, Madonna.”
— Ben Brantley, The New York Times
“What Arias and Twist have fashioned is no less then an eye-popping, delightfully transgressive lysergic fantasia.”
— Time Out New York
“As show-business survivors go, few are as graceful or as funny as the drag artist and singer Joey Arias.”
— The New Yorker

Oph3lia

Oph3lia
“What to make of the strange, feral dances the schoolgirls engage in, while singing their wordless songs? What of the playwright and the producers, riotously alive and bursting with their own stories and concerns? Both make for great theater. ”
— The New York Times

2007

us

“Strong, deft, emotionally resonant theater.”
— The New York Times
“A bright young force on the experimental scene.”
— The Village Voice
“Beller covers it all with sophistication and a full throttle performance. ”
— The Brooklyn Rail
“Beller is built like a burlesque queen and moves like a goddess.”
— Dance Magazine

The Young Ladies of…

“Taylor Mac seduces you, breaks your heart, patches it back up again, and sews sequins along the scars.”
— The Irish Times
“All of [Mac's] plays are self-revealing, but The Young Ladies Of may well be his most personal... rarely has someone wearing so much make-up appeared so naked.”
— The Village Voice
“With his unique blend of bleak humor, personal revelation, political engagement, folk-inflected music, and astonishingly elaborate, gender-twisting, gorgeous grotesque costumes, Mac has emerged as an essential figure in the downtown performance scene.”
— Time Out New York

Rus

Rus
“a powerful multimedia fugue...pointed, visually striking.”
— Time Out/NY on the creators' past work, DISPOSABLE MEN

Drum of the Waves of Horikawa

“A wildly inventive treat... [an] aural and visual circus... it's amazing what sick, outrageous connections O'Harra and Co. inspire.”
— Time Out New York
“Equal parts Sid Vicious and Akira Kurosawa, Drum of the Waves of Horikawa is a brilliant mashup of two seemingly disparate art forms -- traditional Japanese kabuki theatre and '70s punk rock. The wildly imaginative downtown group Theatre of a Two-Headed Calf has woven the common threads of violent energy, extreme posturing, and destructive attitude into its production of a Japanese play that dates from 1705. Featuring a live band, adultery, revenge, full-frontal nudity, murder, and inventive punk-samurai costumes and makeup, the show is one of the most original and entertaining Off-Off-Broadway productions of the year.”
— Flavorpill
“Drum of the Waves of Horikawa incorporates a kinetic punk rock score that swings and sizzles... Executed with inventive, rigorous precision by an indefatigable ensemble in a 12’ playing space, [it] is at turns lively, startling, funny ... The cast is uniformly excellent, throwing themselves completely into O’Harra’s elaborately choreographed staging with a physicality that, for all its precision, still exudes an exhilarating air of recklessness.”
— The Gothamist
“Wild and energetic... this new production from the Theatre of the Two-Headed Calf blends traditional Kabuki with '70s punk rock to create an experience that is entertaining and unforgettable.”
— Washington Square News

US

“Alexandra Beller is built like a burlesque queen and moves like a goddess.”
— Dance Magazine
“In Alexandra Beller's new solo show, directed by Kristin Marting, the former Bill T. Jones standout dresses herself in the American flag, uses it as a jump rope, breast-feeds it. A sound score assaults her with conservative rhetoric, circa 2004, and she enlists the audience in pointing out contradictions in Leviticus. Beller's powerful physicality conveys distress but also a rich sensuality, as she partners a blow-up doll and then a mop.”
— The New Yorker

Live Patriots Act 2:  Alien Nation

“Mac's tapped some of the city's weirdest talent to create original pieces inspired by outer space - and the U.S. policy on immigration”
— The Village Voice

The Be(a)st of Taylor Mac

“...you marvel at how assured and in control this brash, genial performer is”
— The New York Times

2006

The Adventures of Charcoal Boy

“Superbly directed.... Beautiful puppets... Ethereal rock music... "Charcoal Boy" is sure to please. ”
— Ryan McWilliams, The Village Voice
“The conventions combined with the music and the well-choreographed puppeteers make this one of the best shows I've seen this year. ”
— Richard Hinojosa, nytheatre.com

Songs of the Dragons Flying to Heaven

“Young Jean Lee’s hysterically funny Songs of the Dragons Flying to Heaven, now at the HERE Arts Center, is perfect... politically incorrect... shockingly racist... directed brilliantly”
— The New York Times
“Deconstructionist It-girl Young Jean Lee takes the piss out of 'confessional Korean-American identity plays' by writing one of her own.”
— Time Out/NY listing 9/21-27

Stanley

Stanley
“A deliciously thought provoking premise... Striking and original... Surprisingly analytical... Refreshingly silly.”
— The New York Times
“Arguably the most accomplished theatrical event of the Off-Broadway season... Stanley (2006) is a nonstop thrill-ride on one man’s tragic emotional rollercoaster... the show is a reminder of how wildly ambitious and successfully experimental a show can be.”
— Show Business Weekly
“D'Amour's physical prowess consumes the stage... Live camerawork focuses on the performer's nuanced portrayal of the troubled character.”
— Flavorpill