bad things happen here


"Embedded with complex philosophy, expressed in simple sentences, this show will linger with you for many weeks to come. It is easy to portray modern dystopia, it is harder to dismantle the complex systems that make one. Despite halting fears there is the possibility of escape, protest and revolution; there is unwavering and unyielding hope. Bad Things Happen Here is brilliant for its contradictions. It points to our shared and immediate reality – the dangers of taking action and the even more present danger of doing nothing at all.” Fringe Review

★ ★ ★ ★

”This performance… would be unnerving at the best of times, but in a world where we see ever-increasing levels of violence and oppression to people who choose to speak out it is captivating, relevant and disconcerting. Lila Rachel Becker’s direction has culminated in a tense, thrilling hour that leaves us strangely hopeful. In a time where we’re challenged by an ever-changing political climate, bad things happen here asks how we might challenge the lies we’re told.”The Skinny

★ ★ ★ ★

“Bold, unexpected and gripping, ‘bad things happen here’ is a brilliantly-acted feast for the imagination…. The delivery of said language is faultless, with Carrero and Winstead exchanging dialogue almost melodically in a way that only serves to make what they say more powerful… Both Carrero and Winstead navigate these shifts effortlessly, delivering magnetic performances throughout: Carrero’s funny but horrifying detachment in the role of a factory supervisor and Winstead conveying vulnerability and fear with brilliant subtlety were particular highlights of the show.”The Mumble

Let’s Get Ready Together

“Marieta Carrero as Nina, Arielle Goldman as Clara, Rachel B. Joyce as Ella and Andrea Negrete as Lucy are all captivating and wonderfully put their individual imprints on the roles…. Director Lily Riopelle’s resourceful staging takes into account the three-sided playing area so that the events play out with scope at every viewing angle. Ms. Riopelle’s work with the cast is evidenced by the engaging performances.” Theater Scene

“It is an ambitious play, exploring multiple layers of different relationships in only ninety minutes’ time, capturing essential elements of the college experience in a way that leaves the audience feeling as though they’ve been transported back to their own dorm room… Or maybe the play is just reluctant to say goodbye to these complex, beautifully crafted characters portrayed by a universally strong cast. I was left wanting more time with Ella, Nina, Clara, and the other women in their lives. I wanted to see the people they would become at the end of their first semester. Anyone who goes to The Tank for the run of Let’s Get Ready Together is likely to feel the same way.”Manhattan With A Twist

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“Let’s Get Ready Together is most successful as a portrait of 21st-century college life, where young people find themselves forming deep friendships despite dissimilar backgrounds, and Stern’s dialogue skillfully combines the naturalistic and the comedic… Happily, it’s full of great performances; the whole cast is solid, but especially good are Goldman as the nervous Clara and Dawn McGee as Ella’s needy mom. Like its three young subjects, Let’s Get Ready Together is lovable and smart…” – Theatre Is Easy

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Eyes for Consuela

“Powerful performances by all actors, and a perfect set by Andis Gjoni, the production is one for the ages, and most definitely Sam Shepard fans.”Broadway World

“Which reminds me, the aspect of this play that strikes me as perfectly executed is Consuela herself. Marieta Carrero takes what would be a thankless role, and executes it perfectly, with no ego or dullness. The music and dance, provided by Joe Gianono and Kathryn Cashin, respectively, lift her up into the storybook ideal of the rural princessa in act one. She does the work in act two, effectively having more gravitas than anyone else on stage…While Eyes for Consuela may always have some shadowy corners, (director) Marion has lit up a whole part of the jungle we didn't even know was there. You should probably give her all your matches.” New York Theatre Review