"With a running time of two hours, 'Good People' will make you laugh out loud often while also challenging you to consider precisely how much of a role luck and choice play in determining our personal fortunes. And even though we’re still in the first months of 2013, “Good People” has already earned a place in my heart as one of the year’s highlights in local theater." -

"Director David Wolber hits all the right notes as 'Good People' explores chance, choices and class differences. The play approaches life's challenges much the way Margie does: with understandable bitterness laced with refreshing optimism and humor." - Four Star Detroit Free Press Review

"'Good People' was moving, poignant, gutsy and most importantly, topical and an honest reflection of the times we are living in, particularly here in Michigan." - Purple Walrus Press

"This is a funny and moving play – we’re not sure if it’s a dark comedy or a hilarious drama – but the fact that it defies easy categorization tells you it’s worth seeing for yourself.” -

"In Margie, Lindsay-Abaire has created an irresistible female character. At once, she is the focal point of both the show's humor and its inevitable drama. As Margie, Regan is wonderful, Regan is marvelous, and Regan is terrific. She delivers her lines in a variety of orchestrations, sometimes with a droll nonchalance, other times playfully mischievous, always in the affected accent of a tried-and-true Southie." - New Monitor

"That's the thing about 'Good People'. It has enough laughs to qualify as a comedy, enough working-class realism to qualify as kitchen sink drama, enough hard luck to flirt with tragedy, sufficient plot to keep an audience wondering what will happen next." - - Encore Michigan

"The brilliance of this play--and the Performance Network's execution of it--is that, despite its bleak premise, it's actually funny. The dialogue is quick, the characters are smart, and the actors are in on the joke. Life is miserable in Southie as in Chestnut Hill, but that's no reason to lose your sense of humor." - Damn Arbor

BRILL Reviews!

"Forget Batman and Robin. We saw Brill last night the world-premiere play at Performance Network Theatre and can report that the real dynamic duo is Phil Powers and Sarah Ann Leahy... The third character in this play is the building itself. The scenic design by Daniel C. Walker instantly feels right, but the building lives and breathes through sound design by Will Myers and the additional music created and arranged by Musical Director R. MacKenzie Lewis... This play deserves to find an audience in Manhattan; we hope someday it will. For now, make a point of seeing it in Ann Arbor." -

"Give Brill a 98, with a bullet, plus four stars and two thumbs up. This is one satisfying show, lovingly brought to life by an array of talented individuals. Wells' nifty two-player script about a well-seasoned tunesmith and his would-be protege is sure to be picked up by other theaters looking for a stimulating show of their own to produce. Powers and Leahy are terrific, both individually and in tandem. Powers adds another great characterization to his extensive resume and Leahy continues with what promises to be a very rewarding career." - New Monitor

"Anyone who has ever experienced a mentor/protege relationship will likely relate to the remarkably believable interactions between these two characters, which is a credit to both director David Wolber and the playwright [David Wells]... The set design, brilliantly envisioned by designer Daniel C. Walker, is undoubtedly one of the most impressive the company has featured on its stage. Not only does it depict the interior of an office in the Brill building, it includes a hallway and partial lobby. The costumes by Monika Essen, properties by Charles Sutherland, and sound by Will Myers all do their part to evoke the period. Audiences are certain to have an enjoyable evening out." - Chelsea Patch

"One of the play’s pleasures derives from the way you can’t predict where the story will go next, while knowing you’re in the hands of a wholly capable storyteller.” -

"As a script, Brill portrays a humorous, compelling partnership of adversaries and occasionally caves in to an impulse to make it deeply personal. But anchored by breathtaking performance and charming musical flair, this production flourishes, elevating a gently uneven foundation into a towering accomplishment." -Encore Michigan

"Fabulous! A heartwarming story sprinkled with comedy brilliance. The chemistry and flow between Jimmy and Margie was great. Amazing job! Keep it up!" - Preview Audience Comment

BURN THIS Reviews!

"My respect for playwright Lanford Wilson (best known for his wonderfully titled Hot L Baltimore) shot through the roof with this production of Burn This. High five for the Performance Network Theatre, too. " - Ann Arbor Observer

"As if summer hasn't been hot enough already, Performance Network Theatre in Ann Arbor is offering a blistering production of Lanford Wilson's "Burn This" through Labor Day weekend. Blessed with this talented ensemble, director Ray Schultz works the play's various tones, which make it tragic, funny and volatile, often at the same time. Plotting takes a back seat to character in "Burn This," but Performance Network's production reveals it to be a Wilson work that is aging well. - Detroit Free Press

"Performance Network presents Lanford Wilson's 1980s play Burn This, an intriguing drama that features some of the best performances of the season. [Quetta] Carpenter, making her debut at the Network, is one of the most impressive actresses to appear with the company in recent seasons. Her interpretation of Anna is a fully realized portrayal, showcasing aspects both bold and subtle. If this past season is any indication, Dexter area audiences are fortunate they don't have to wait long till the next." - Dexter Patch

"Lanford Wilson's wonderful words, delivered by Darrell Glasgow as if in some sort of supercharged poetry slam, stun and mesmerize the audience. In fact, the entire Performance Network cast is fascinating; it is thrilling to watch how they manage to provide each other essential balance to withstand the centrifugal force that threatens to spin them all out of control." -

"Both [Quetta] Carpenter and [Darrell] Glasgow bring flesh tones to their performances, intensity without raucousness, tenderness without overplaying, and the relaxation works, as each gives in to their neediness. " - Encore Michigan

"PNT's production is brisk, intriguing and entertaining. Darrell Glasgow is absolutely explosive as the dangerous Pale. Ray Schultz directs with special attention to the action sequences. "- New Monitor

"the polished cast lands the script's subtle moments of humor (particularly [Kevin T.] Young) and works exceedingly well as an ensemble." -


"infinitely clever... this play in this production is a must see" - Encore Michigan

"this play isn't for children or anyone squeamish about S-E-X. Everybody else will love it." - Detroit Examiner

"the show's charms are many. Chief among them, perhaps, is Seibert, perfectly cast as a tightly buttoned-up, uber-rational doctor who whistles and chats obliviously while sexually arousing his patients. Seibert's timing and delivery provided some of the funniest moments of the production's opening night. " -

""In the Next Room or The Vibrator Play" is an intriguing comedy with larger aspirations. Patently funny, it strikes a serious chord about a time when the whole of the civilized world seemed to be living under the mores of the Victorian Age even while it struggled to break free of them." -

RED Reviews!

"Mark Rademacher proves picture-perfect as Rothko...You will believe you are seeing the man himself." - Detroit Free Press

"Outstanding production...Director Carla Milarch guides this polished production with an eye toward the human struggle that's inherent in the creation of art" -

"the unforgettable scene is wordless, almost balletic, as Ken and Rothko, with their backs to us, prime a massive canvas, wielding and waving their brushes in perfect counterpoise...a session you definitely don't want to skip." - Encore Michigan

"You don't have to be an art aficionado to appreciate this well-acted and insightful portrait of this talented but tortured soul." - Oakland Press

"must-see theater...a show not to be missed and one that will stay with you for a long time." - New Monitor

"Brilliant drama...[Mark Rademacher] animates Rothko's demanding intellect and compels us to like him even at his most unsympathetic moments." - Examiner

"As Ken, [Kevin] Young delivers a nuanced performance...definitely not to be missed." - Dexter Patch

Dead Man's Shoes Reviews!

"Four out of Four Stars! The Western tale is a feast of set design and performance in service of a richly textured script." - Detroit Free Press

"Surely, this will be one of the best of the season, with performances that are equally memorable. " - Encore Michigan

"director David Wolber strikes the perfect balance of suspense and humor, reintroducing classic thriller elements as soon as you've let down your guard." - Lansing City Pulse

"It's an old-time western with contemporary sensibilities, and the journey that it recounts is well worth the taking." - New Monitor

"there is just something about [Drew] Parker that makes you want to watch more" - Lansing Online News

"Viewers should brace themselves to burst out laughing from the very edge of their seats, to recoil and thrill in quick succession, and to get swept up in a first-rate story that nevertheless demands nothing of its audience but to enjoy." - The Rogue Critic

"Laugh-Out-Loud Funny...there is so much to admire about this production" - The Detroit Examiner

"Many of the stock elements are in place - the dark, brooding anti-hero named Injun Bill (Drew Parker), his dim-witted-but-loveable sidekick, Froggy (Aral Gribble), and the quest to avenge the gruesome death of a comrade... Gribble breaks all expectations of Froggy as a two-dimensional figure and instead makes him a completely genuine human being." - Heritage Newspapers

God of Carnage Reviews!

"And boy, does this production have the right people for the job. This well-oiled theater machine of an ensemble, expertly guided by director David Magidson, plows through the show's 90 minutes with energy and skill to burn." -

"One particular highlight was the return of Phil Powers to the Network's stage in the role of Alan, a self-absorbed, workaholic lawyer whose cell phone seems to be a permanent appendage." - Heritage Newspapers

"This is the kind of play we love to see at the Performance Network Theatre - which has something to do with its intimacy and everything to do with its habit of producing one excellent show after another." - Examiner

"Played in a single act, God of Carnage packs a lot of comedy into a small package." - Encore Michigan

"Indeed, with such appealingly appalling material - sneering courtesy, gorgeous visuals, uncontrollable tantrums, a completely interactive environment, bacchanals of revulsion, and exhaustive character work so dense and effective, it may escape the viewer's notice - it's a marvel that the only awful thing to say about this production is how awfully funny it is." - The Rogue Critic

"I had an opportunity to see the movie earlier this month during an advance screening, but I much prefer the play." - Detroit Free Press

Ain't Misbehavin' Reviews!

"Fats Waller may not be around to enjoy the results of this across-the-board collaboration at Performance Network, but we are. Lucky us." - Encore Michigan

"The Joint is Jumpin' is not only the name of one of the many Fats Waller tunes featured in the Tony Award-winning musical revue Ain't Misbehavin', but is also an apt description of the scene inside Performance Network, which is now offering a joyous, wholly satisfying production of the show ... of the handful of different Misbehavin' productions I've now seen in recent years, PNT's is clearly the best, thanks to [director Tim] Rhoze's vision, and his team's execution." -

"Darrian Ford is a triumphant clown in his go-for-broke solo regarding an illicit substance, whereas James Bowen sells a cosmetic complaint with stylized lyric readings and hilariously disgusted faces. K Edmonds' kittenish turn at an amorous request is unbearably sexy in its stillness and understatement, a number that holds amazing parallels to Kron Moore's heartbreaking, emotionally beaten down ballad about a cruel lover. Jennifer Cole takes what could have been a merely oblivious character and makes her the ineffably proud center of her own delightful little world, poised to be an instant favorite." - The Rogue Critic

"We doubt that PNT wants to get into the speakeasy business, but we can easily imagine coming back to see this show every Saturday night." - Examiner

Time Stands Still Reviews!

"I knew very little about Time Stands Still before I attended the opening night performance at Performance Network Theatre. But one look at the show's pedigree - direction by Kate Peckham, with Suzi Regan and John Lepard in the lead roles - and I went in expecting an excellent night of theater. I wasn't disappointed." - Encore Michigan

"Regan and Lepard are a dream team duo. Regan makes Sarah's constant need to keep moving and put herself in harm's way a vulnerable, sympathetic quality that hints at a painful past - one she'll likely never fully come to terms with; and Regan's subtle work in a moment near the play's end, when she looks into the face of Mandy's baby, is heartwrenchingly powerful. Lepard, meanwhile, deftly paints a portrait of a man who, after a dark night of the soul, is in the midst of a significant change that he knows will threaten the balance." -

"If this opening production is any indication, audiences certainly have much to look forward to this season from one of the best regional theaters around." - Dexter Patch

Marie Antoinette: The Color of Flesh Reviews!

"As the saucy, quick-witted, and ambitious Elisa, Dion reveals a character who is also vulnerable, sensitive, and fiercely loyal, eventually risking her own safety for the sake of her friendship with the doomed queen." - The Oakland Press

"Marie Antoinette: The Color of Flesh is an inventive script. The wit in the first act bubbles like fine champagne in the best tradition of a comedy of manners." - Encore Michigan

"Marie Antoinette: The Color of Flesh, which officially opened at the Performance Network Theatre in Ann Arbor, is an engaging story that is surprisingly funny given the inevitability of its conclusion. This production, directed by Shannon Ferrante with a beautiful set and costume design by Monika Essen, pulls the audience into the story with a compelling, voyeuristic intimacy." - Detroit Examiner

"the play's nineteen years fly by with the aid of Essen's costume design, evolving Marie Antoinette from cherubic young queen to middle-aged target of collective schadenfreude before the viewer realizes it's happened." - The Rogue Critic

"Chelsea Sadler gives her Antoinette a gently regal air, with only a slightly lifted chin and none of the cliches that may still exist in the popular imagination with regard to this particular monarch. In addition, she conveys well the sense that Antoinette was, after all, only human, spoiled in some ways and vulnerable in others." - Heritage Newspapers

"Playwright Joel Gross includes just two additional characters in his study of Marie, played here exquisitely by Chelsea Sadler. The Queen is splendidly attired and coiffured throughout several changes of costume, with designs by Monika Essen. " - New Monitor