Press

“Best Classical Music of 2025, so far.”

“Es ist eine sehr nahegehende Erfahrung.”

“A sensationally witty and profound monodrama about the meaning of music for amplified soprano and large orchestra.”

“Soper used her seductive speaking voice and stunning soprano to make a strong case – sometimes enthralling, always entertaining – for the future of music.”

“One of the best shows of the 2024 Edinburgh Festival Fringe.”

“Mrs. Warren is a stand-out performance in university theater, leaving the audience with much to ponder.”

“Extraordinarily interesting and strangely fun.”

“This is one you shouldn’t miss.”

“Immersive, innovative, thought-provoking – temping is live performance as you have never experienced it before.”

“Glimpses of human frailty punctuate the mundane office routine, and seemingly simple tasks trigger moving reflections on the lives of strangers and one’s own mortality… Temping is intriguing, amusing and surprisingly thought-provoking. To say much more would be a breach of workplace confidentiality!”

“temping. is a singular experience in that there is no audience and no live performance. It’s simply you, in an office, getting on with the job. It may sound tedious on the surface, but Michael Yates Crowley has written a surprisingly fun, funny and emotionally deep immersive experience and, under the smooth direction of Michael Rau, it comes to life at a controlled but engaging pace… There’s unlikely to be anything else like temping. this season and nor should there be, because when the seemingly frivolous turns profound, it deserves to stand out.”

“An intriguing mystery.”

“Temping is like nothing else I’ve seen at the Edinburgh Fringe.”

“An amusing satire of office politics and a moving meditation on mortality.”

“Jewel-like… a quietly moving, slightly unsettling, miniature masterpiece of a show.”

“Aside from the beauty of its storytelling, Temping is near flawless in its execution.”

“One of the best shows of 2019.”

“To call The Homes We Build an ‘experiential theatre project,’ as its creators have dubbed it, is a profound reduction of the depth and poignancy of this experience. In Homes, Katie Green, Michael Rau, and Sean Moran have created a towering piece of participatory art that elicits the full spectrum of human emotion.”

“Dizzying, humorous, and sincere.”

“The two Michaels bring a casual, slackerish vibe to the stage.”

“Crowley’s writing is smart and often gorgeous, his performance (as always) masterfully precise and affecting.”

“Full of wit and with a fantastic undercurrent of dark humour, Righteous Money has important things to say.”

“An unashamedly bitter, sharp and biting satirical attack on the American dream.”

“A seductive and poetic tour de force.”

“The actors of troupe Wolf 359 manage to avoid the potential pitfalls of simplifying their stereotypical characters and create instead a hilarious, (at times unnervingly on-point) portrait of yearning Evanston citizens whose oblivion proves to be their most dangerous threat. This play definitely deserves an audience.”

“Director Michael Rau has done a nice job of creating simple but effective staging.”

“Michael Rau’s staging is tight and effective, maintaining the focus squarely on Crowley’s performance.”

“The Games We Used to Play is a sordid and amazing piece made all the more spectacular because so much is created from nothing.”

“This powerful and intimate show was one of the more thoughtful gifts Wesleyan audiences have received.”

“If you only see one free, 85-minute theatrical meditation on migraines and objectivism this year, by all means make it Song of a Convalescent Ayn Rand Giving Thanks to the Godhead (in the Lydian Mode).”

“The production achieves something remarkable in that it’s a black comedy that isn’t cynical. It manages to satirize us without alienating us. The characters, in spite of their monstrous self-involvement and inability to process their feelings in healthy ways, seem sincere and all too real.”