Press
The Helen Project is “intriguing” and “provocative.” “A test of their build-your-own Helen play kit, it’s five intersecting monologues from many more different takes on Helen they’ve written… a whole new set of material is promised for a second outing this weekend.” Read More…
- Robert Hurwitt for The San Francisco Chronicle, May 2013.
“Hilariously directed by Amy Clare Tasker, Hera drew a lot of hysterical screaming from Nick Trengove’s Terry. In addition to reading stage directions, Brian Martin (wearing a sock puppet on one hand) scored strongly as the jealous, growling Zeus.” Read More…
- George Heymont for Huffington Post (from My Cultural Landscape), December 2012.
“As in the days of Greek mythology, the gods war with the Titans again – only this time, we lowly humans can decide the winners at the San Francisco Olympians Festival: Titans vs. Olympians, a 12-night series of play readings that continues for the next two weeks at San Francisco’s Exit Theatre… The 25 one-act plays range from literal versions of myths to what Bousel calls “really far-out ideas,” and they come from first-time writers as well as more established playwrights like Amy Clare Tasker and Marissa Skudlarek. A few, like Colin Johnson’s film noir “Hephaestus or Heffy,” will set the canonical story of a deity in a different time or place, while others, like Megan Cohen’s feminist take on Zeus, offer a modern view on ancient themes.” Read More…
- Mary Ellen Hunt for The San Francisco Chronicle, December 2012.
“What led you to create your own theatre company? Inkblot exists because I and Maria Giere Marquis and Meg O’Conor and Misti Boettiger all felt, having worked together once before, we found we had a great affinity for the kinds of stories we wanted to tell, the way we wanted to tell them, and the way we wanted to develop them and find them, explore them. There’s a certain element of creating companies because “I want to do work,” but most of it is, “I want to do this work in this way with these people,” and starting a company allows you to do exactly the kind of work you want to do and to define and refine the kind of work that is your work. As a young artist, it is important to me to be able to have the time and the space to play and to find out what exactly is my work and what does it look like, what does it feel like, what does it take to produce it?” Read More…
- Amy Clare Tasker in an interview with Caroline Anderson for Theatre Bay Area Magazine March 2012.
“It’s Greek Mythology meets Waiting for Godot.”
- Audience reaction to Inkblot Ensemble’s Satellites, June 2011.
“Richly metaphoric, poetic and provocative…”Diadem” is a delightful retelling of the ancient myths. Each play is highly entertaining on its own terms…Melrose stages “Diadem” with a light touch, using the subtle dissonances in Cliff Caruthers’ score to accent Ariadne’s misgivings. Rogers infuses the tale with poignant sunniness, enhanced by her own sweet songs and Laura Arrington’s choreography. The longer “Bone,” in the more desiccated setting of Heather Basarab’s hot lights, raises the mythic stakes in a contemporary context. As Rogers navigates its intertwined elements of warfare, sexual longing, meat butchering, hunger, geography and incestuous undertones, Chan’s writing chills and thrills to, yes, the bone.” Read More…
- Robert Hurwitt for The San Francisco Chronicle, February 2011.
“Women are clearly in charge of the stage in Antistrophe Ensemble’s update of the classical Return from Troy cycle… The theatre is intimate, the company is brand new, the cast is young and enthusiastic and clever and the audience loves them.” Read More…
- Jim Strope for Examiner.com, August 2009.
“An aggressively funny, coolly insouciant piece of theater terrorism now up in a laser-focused, captivating production (and I mean captivating — you don’t dare budge for the 60-minute duration) from Cutting Ball Theater. The Bay Area premiere of Will Eno’s Thom Pain (based on nothing) is nothing you want to miss.” Read More…
- Robert Avila for SF Bay Guardian, March 2009.