Press

COLLECTED WORKS

“What (Collected Works) adds to the trend toward interactive performance is excellent dramaturgy: the thought behind the work is rigorous, nuanced, and joyously engaged with the complexities of the challenging text it selects (…) Collected Works combines excellent thought with the not-inconsiderable pleasure that today’s audiences derive from engaging with sites and narratives in original, physically active ways.” Kimberly Jannarone, Theatre Journal 67:4

THE BALCONY AT THE OLD MINT

“Don’t miss this theater experience. By ushering you through the crypt beneath the granite fortress, the play disallows a privileged position from which to judge the characters, their actions and their prescriptions. I found myself with a fresh look at theater and the larger story of humanity.” Jim Strope, San Francisco Examiner

“While this performance of Jean Genet’s “The Balcony,” by The Collected Works was a public performance, it was hidden in plain site. It occupied two floors of a large public building in the middle of downtown, but was largely invisible. The three week run sold out every performance, with some people returning several times. For work like this to prosper, it’s important that you keep quiet about it. Don’t tell all your friends, don’t share this blog post, and don’t hope that this goes mainstream.” Cliff Gerrish, Echovar

As with The Collected Works’ previous play “Princess Ivona,” the inventiveness of their productions shines through. I look forward to their future productions. I highly recommend keeping up with and attending any upcoming planned productions of The Collected Works if you’re in the San Francisco Bay area.” Dwight Green, A Common Reader

“This creative staging of The Balcony is typical of a performance by Collected Works, a young company based in San Francisco with a knack for site-specific works staged in unusual locations.” Rebecca Chaleff, The Drama Review 60:2

LECTURE ON NOTHING

“Derek Phillips’s soundscape is as eerie and playful as Hunter’s performance of the text.  In the fashion of Cage’s work creating sounds from found objects, Phillips rubs a stone across one microphone, then crumples leaves in front of another.  These sounds—the sounds that Cage continually proclaims he loves so much—fill the room with a sense of aural homage.  They loop and thread themselves within and between the text, becoming, simultaneously, nothing other than themselves and something very much beyond themselves.” Performance Studies International performance blog 

PRINCESS IVONA

 

“Astutely staged by director and company-cofounder Michael Hunter, with excellent design support — including from costumer Latifa Medjdoub — this captivating play makes for a worthwhile outing and a very promising company debut.” Robert Avila, San Francisco Bay Guardian 

 

SFWeekly’s pick of the day for Jan. 31: “A brilliant and often hilarious examination of the role of power and desire…Expect to be literally and metaphorically moved.” Jamie McKenzie, SF Weekly

“From the acting, to the storyline, to the costumes, set and staging – everything fit, everything contributed so richly to the complex and entertaining framework of this play.  It is, quite simply, the best play I have ever seen.” Melissa Mirza, The Dinner Table

FRANCONIA PERFORMANCE SALON

 

“One of the most lively, eclectic and inventive of these happenings I’ve experienced…” Chloe Vetlman, ArtsJournal.com