Press

Press reviews from past Ripe Time productions.

Press Contact: John Wyszniewski, Everyman Agency

john@everymanagency.com; ph: 347-416-3881

Read the Feature in The New York Times!

About THE WORLD IS ROUND (2014)

"Playful and musical and beautifully presented. Utterly faithful to the text and the spirit of Stein's quicksilver intelligence, it also reveals with simplicity the fable that undergirds the word play, ...the marvelous musical settings and the committed performances show this to be a collaboration in the truest sense between the artists and all of them with Stein."- The Huffington Post

"Excellent....The set by Mimi Lien is a triumph."- The New York  Times

"Ripe Time's World does the Mother Goose of Montparnasse proud." - The Village Voice

"... an energetic, breathtaking theatrical performance."- Theater Pizzazz

" This is thought-provoking theatre that sings, dances, and moves with you. The sets, when put into motion, dazzle, and the actors, when put into motion, too, do the same. It’s a must-see for anyone looking to get lost and found, in the very capable hands of an indisputable genius and some spectacular contemporary artistic voices." - Brightest Young Things

"An impressively original work."- Indie Theatre, NY Theater Now

Kristen Sieh as Rose. Photo by Todd France.

Kristen Sieh as Rose. Photo by Todd France.

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About SEPTIMUS AND CLARISSA (2011)

“Thrilling and richly theatrical… Septimus and Clarissa” finds hypnotic poetry in the ordinary, the solemn, the rapturous and just about everything in between.” The New York Times

“This is the best adaptation of Virginia Woolf that I’ve ever seen on stage or screen. [Septimus and Clarissa is] certain to be on my list of the best shows in this very young season.” - The Huffington Post

“A breathtaking fusion of Woolf’s text, Ellen McLaughlin’s adept adaptation, Gina Leishman’s evocative musical score, Rachel Dickstein’s imaginative direction, as well as well-chosen design elements and choreography created in collaboration with the intense and sensitive ensemble. - Backstage

“Dickstein creates stunningly theatrical moments with her gifted ensemble.” – Time Out

“Splendid and exquisite….Ellen McLaughlin, who adapted Woolf’s novel, and director Rachel Dickstein have superbly captured the impressionism of the novel through fusing Woolf’s indelible prose with music and movement….the play is poignant and immediate and arresting, as if a window had been flung open, revealing the innermost thoughts of passersby on the street.” – nytheatre.com

About FIRE THROWS

 “Rachel Dickstein’s high-tech adaptation of “Antigone” splits its heroine in two: while one Antigone (Laura Butler) enacts the well-worn events of the tragedy, another (Erica Berg) stands out of time, reflecting on the action and revealing a tinge of regret beneath her iron will . . . Dickstein’s true innovation is in the visual language she creates, a striking blend of movement and video projection that conveys a fragmented yet distinctly ancient world.” – The New Yorker

“Visually stunning ….Invoking the multidisciplinary ritualism of ancient Greek drama, Dickstein combines sculptural dance and live gamelan music with projected video to envelop 3LD’s stage with ravishing imagery and sound.…with a few scraps of fabric, stark lighting and a rigorous ensemble, Dickstein clearly has all she needs to create visual poetry.”—Time Out

“Vibrant… instantly captivates” - Theatremania, full review

“Rachel Dickstein’s … direction, with some astonishing stage pictures that splash your eyes … is startlingly adept at making two millennia worth of history up-to-the-moment trenchant.” – Talkin’ Broadway

“Mesmerizingly lovely.” – The Staten Island Advance, full review.

“A remarkable achievement.” - offoffonline.com

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About BETROTHED

“ A richly sensual and imaginative triptych filled with pleasures for the eyes and ears.” - Joe Dziemianowicz, The Daily News, full review

“Intoxicating! [Director Rachel] Dickstein is clearly a passionate artist and she’s staged this piece with an ecstatic vigor of a woman in love.” -- Kerri Allen, Time Out, full review

“Dickstein weaves a dreamy, enchanting dance-theatre piece. The cast enacts each story with glowing fullness, and Vijay Iyer’s liquid music shimmers throughout.” – Pam Renner, The New Yorker, full review

“Breathtaking and poignant. A theatrical event to be reckoned with.” –Fred Backus nytheatre.com

“The work of an impressive young auteur.” – Andy Propst, backstage.com

Read the feature by Eliza Bent in the Brooklyn Rail!

About INNOCENTS (2005)

Ms. Dickstein artfully draws the audience into a mesmerizing mood piece composed of seamless vignettes . . . . ravishing moments . . . stunning images . . . pure visual entertainment . . . . Dickstein is a maverick illusionist.” -Phoebe Hoban, The New York Times, full review

“The ensemble is gorgeously functional as a troupe, enacting Lily’s tragic story in an impressionistic style that finds bold images and expressive movement for the emotions behind the words. Grand and glorious.” – Marilyn Stasio, Variety, full review

“Ravishing” – Rachel Wetzsteon, Village Voice

“A dazzling achievement!” – Backstage

“Beautiful, sophisticated theatre.” – David Delrosso, nytheatre.com, full review

“One of the most visually elegant productions you’ll ever see.” – David Noh, Gay City News

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About THE SECRET OF STEEP RAVINES (2002)

“The Secret of Steep Ravines” is a dark, dreamlike return to the spirit of the Great Depression.  Not simply a drama, this production incorporates music and imaginative choreography [to create] a multilayered, involving theatrical experience. . . . [A]n evocative visit to a place in the past that exists in the imagination.”

- Robin Eisgrau, offoffoff.com

“[The Secret of Steep Ravines] exploits the theater’s unique capacity to engage reality and fantasy at the same time, to make pretty stage pictures by morphing everyday objects or gestures into abstractions, and to let language slide into movement and back again.”
– Alisa Solomon, The Village Voice

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About THE HOLY MOTHER OF HADLEY NEW YORK (2001)

“Riveting. . . . a serious and moving study of the persistent human need to believe in a power greater than us.”—The Westsider

“[The finale] creates a delicious tension that engulfs the audience as much as the actors, right until its nearly perfect resolution.” -Theatremania.com