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You Are Dead. You Are Here
"You Are Dead. You Are Here was one of the best shows I have experienced in 2013. I’ve read the articles in the Science Times about PTSD but never was I this moved and inspired to fully grasp the extent of the suffering that soldiers returning from combat suffer."
- Joan Kane, Indie Theatre Now | Read Full Review
"Anyone who thinks it a good idea to become more engaged in the civil war now going on in Syria by sending troops is advised to see You Are Dead. You Are There, a gripping and impassioned new play by Christine Evans [which] uses multi-media to combine real-life with virtual life in a powerful way."
- Simon Salzman, Curtain Up | Read Full Review
"[A] deeply affective and politically interesting night of theater. The close collaboration between playwright Christine Evans, director Joseph Megel, and media designer Jared Mezzocchi made for a provocative intertwining of virtual and real worlds. I think they did excellent work in seaming the projections, gaming device, and actors together into a cohesive visual and aural landscape. Perhaps they mean to suggest that healing can only occur when the two sides are confronted with one another."
- Sydney Arnt, Show Business Weekly | Read Full Review
"You Are Dead. You Are Here was one of the best shows I have experienced in 2013. I’ve read the articles in the Science Times about PTSD but never was I this moved and inspired to fully grasp the extent of the suffering that soldiers returning from combat suffer."
- Joan Kane, Indie Theatre Now | Read Full Review
"Anyone who thinks it a good idea to become more engaged in the civil war now going on in Syria by sending troops is advised to see You Are Dead. You Are There, a gripping and impassioned new play by Christine Evans [which] uses multi-media to combine real-life with virtual life in a powerful way."
- Simon Salzman, Curtain Up | Read Full Review
"[A] deeply affective and politically interesting night of theater. The close collaboration between playwright Christine Evans, director Joseph Megel, and media designer Jared Mezzocchi made for a provocative intertwining of virtual and real worlds. I think they did excellent work in seaming the projections, gaming device, and actors together into a cohesive visual and aural landscape. Perhaps they mean to suggest that healing can only occur when the two sides are confronted with one another."
- Sydney Arnt, Show Business Weekly | Read Full Review
Trojan Barbie
"The best thing that can be said about a playwright you’ve experienced for the first time is that you can’t wait for the next play. Based on Trojan Barbie, Christine Evans should be on the radar of anyone who cares about contemporary American theater."
-Joel Beers, The OC Weekly | Read Full Review
"It’s rare that something so astoundingly original can come out of an adaptation of an ancient Greek tragedy, yet Trojan Barbie proves how the human experience of loss and love endures in a fresh and captivating way. A modern interpretation of a classic, then, becomes a masterpiece in its own right."
-Elizabeth Baker, Georgetown Voice | Read Full Review
"…as hard-edged and eloquent as slam poetry… Evans wants us to ask the question no one poses: What happens to women in warfare? She clearly also wants us to think once again about Euripides’ original query concerning the place of war and aggression in a society that sees itself as blessed, just, and righteous."
– Killian Melloy, Edge Boston | Read Full Review
"Explosive new work . . . an imaginative, time-warped view of the ongoing challenges women have faced since foreign conflict first raged thousands of years ago."
- Matthew Small, Talkin' Broadway | Read Full Review
"The best thing that can be said about a playwright you’ve experienced for the first time is that you can’t wait for the next play. Based on Trojan Barbie, Christine Evans should be on the radar of anyone who cares about contemporary American theater."
-Joel Beers, The OC Weekly | Read Full Review
"It’s rare that something so astoundingly original can come out of an adaptation of an ancient Greek tragedy, yet Trojan Barbie proves how the human experience of loss and love endures in a fresh and captivating way. A modern interpretation of a classic, then, becomes a masterpiece in its own right."
-Elizabeth Baker, Georgetown Voice | Read Full Review
"…as hard-edged and eloquent as slam poetry… Evans wants us to ask the question no one poses: What happens to women in warfare? She clearly also wants us to think once again about Euripides’ original query concerning the place of war and aggression in a society that sees itself as blessed, just, and righteous."
– Killian Melloy, Edge Boston | Read Full Review
"Explosive new work . . . an imaginative, time-warped view of the ongoing challenges women have faced since foreign conflict first raged thousands of years ago."
- Matthew Small, Talkin' Broadway | Read Full Review
Slow Falling Bird
"Powerful visuals and wrenching personal drama . . . in the final scenes the slow falling stops and the soaring begins."
– Chad Jones, Oakland Tribune
"Evans writes from the gut with a darkly gritty world-view. . . . Evans wisely fleshes out the humanity of all her characters, good and bad, sexual and cultural, victim and bully. She brilliantly utilizes the moon-like terrain of the Outback . . . to parallel the inhospitable geography of politics, where cruelty is the path of least resistance . . . A multi-layered, superlatively textured script."
-Tom W. Kelly, San Francisco Bay Times
"Powerful visuals and wrenching personal drama . . . in the final scenes the slow falling stops and the soaring begins."
– Chad Jones, Oakland Tribune
"Evans writes from the gut with a darkly gritty world-view. . . . Evans wisely fleshes out the humanity of all her characters, good and bad, sexual and cultural, victim and bully. She brilliantly utilizes the moon-like terrain of the Outback . . . to parallel the inhospitable geography of politics, where cruelty is the path of least resistance . . . A multi-layered, superlatively textured script."
-Tom W. Kelly, San Francisco Bay Times
Weightless
"A hilarious but disturbing look at lives in isolation, full of tragically fractured connections that might inspire you to reach out and touch someone. . . Weightless’s world is simultaneously real and surreal, making the play both familiar and foreign… It’s well acted, well directed and very well-written."
-Evangeline Kurz-Nelson, Brown Daily Post
"Evans’ script combines a strong sense of humor with the surreal and keeps at least one foot grounded in the reality we know . . . Being Weightless, or at least striving to be, is fun and a bit scary as well."
– Jim Seavor, The Providence Journal
"A hilarious but disturbing look at lives in isolation, full of tragically fractured connections that might inspire you to reach out and touch someone. . . Weightless’s world is simultaneously real and surreal, making the play both familiar and foreign… It’s well acted, well directed and very well-written."
-Evangeline Kurz-Nelson, Brown Daily Post
"Evans’ script combines a strong sense of humor with the surreal and keeps at least one foot grounded in the reality we know . . . Being Weightless, or at least striving to be, is fun and a bit scary as well."
– Jim Seavor, The Providence Journal
Can't Complain
"Christine Evans’ Can’t Complain is an exquisitely beautiful play that cuts to the bone.... A supposedly soothing atmosphere, but one that hurts to be there, like going to a doctor’s waiting room when the news is all bad."
-Rosalind Lacy, DC Theatre Scene | Read Full Review
"CAN'T COMPLAIN is beautifully structured; its entire first scene reveals the reality of the situation with a twist in its final lines."
-Roger Catlin, BroadwayWorld.com | Read Full Review
"Brilliant writing and direction, incredible acting, and visually striking stage design make Can’t Complain a ‘Must See’ event. Christine Evans’ play makes an exciting contribution to the Women’s Voices Theater Festival, and I know I look forward to seeing future productions that Spooky Action Theater has to offer."
-Lauren Katz, DC Metro Theater Arts | Read Full Review
"Christine Evans’ Can’t Complain is an exquisitely beautiful play that cuts to the bone.... A supposedly soothing atmosphere, but one that hurts to be there, like going to a doctor’s waiting room when the news is all bad."
-Rosalind Lacy, DC Theatre Scene | Read Full Review
"CAN'T COMPLAIN is beautifully structured; its entire first scene reveals the reality of the situation with a twist in its final lines."
-Roger Catlin, BroadwayWorld.com | Read Full Review
"Brilliant writing and direction, incredible acting, and visually striking stage design make Can’t Complain a ‘Must See’ event. Christine Evans’ play makes an exciting contribution to the Women’s Voices Theater Festival, and I know I look forward to seeing future productions that Spooky Action Theater has to offer."
-Lauren Katz, DC Metro Theater Arts | Read Full Review
My Vicious Angel
"Christine Evans is about to join a small but select list of Australian playwrights who write with a peculiarly poetic intensity . . . My Vicious Angel seized me with the intensity, musicality and economy of its language, the power of its scenario and the potential of its theatricality."
-Keith Gallasch, RealTime
"Passionate, lyrical, witty and above all, adventurous."
-John Edge, The Bulletin
"Don’t miss this locally made masterpiece."
-Barry Lenny, Rip it Up
"A powerful and moving piece of theatre….My Vicious Angel is a must-see theatrical experience. A wonderful example of serious theatre at its best."
-Myk Mykyta, 5UV Radio Arts Magazine
"Hauntingly poetic work… an assured, organic chamber piece."
-Bryce Hallet, Sydney Morning Herald
"Christine Evans is about to join a small but select list of Australian playwrights who write with a peculiarly poetic intensity . . . My Vicious Angel seized me with the intensity, musicality and economy of its language, the power of its scenario and the potential of its theatricality."
-Keith Gallasch, RealTime
"Passionate, lyrical, witty and above all, adventurous."
-John Edge, The Bulletin
"Don’t miss this locally made masterpiece."
-Barry Lenny, Rip it Up
"A powerful and moving piece of theatre….My Vicious Angel is a must-see theatrical experience. A wonderful example of serious theatre at its best."
-Myk Mykyta, 5UV Radio Arts Magazine
"Hauntingly poetic work… an assured, organic chamber piece."
-Bryce Hallet, Sydney Morning Herald
Ballad of the Lost Dogs
"Evans, now writing from the US, again proves herself a master of construction and spare, evocative dialogue in a quasi-fantastic setting."
-Keith Gallasch, RealTime National Arts # 50
"Evans’ play is a strongly crafted exercise in the tenuous and the unsettling… A well-acted urban tale of sadness, both touching and disturbing."
-Stephen Dunne, Sydney Morning Herald
"Evans, now writing from the US, again proves herself a master of construction and spare, evocative dialogue in a quasi-fantastic setting."
-Keith Gallasch, RealTime National Arts # 50
"Evans’ play is a strongly crafted exercise in the tenuous and the unsettling… A well-acted urban tale of sadness, both touching and disturbing."
-Stephen Dunne, Sydney Morning Herald
Mothergun
"The most wrenching aspect of the play is a wild child soldier…Murderously happy, playing his stick rifle like a lethal air guitar… there’s a kind of innocence in how purely savage he has been trained by war to be. The character provides theme and coda to a successfully sustained cymbal crash of this short play. It’s fascinatingly written and performed."
-Bill Rodriguez, The Providence Phoenix
"A toe-curling vision of hell, set in a very contemporary refugee camp."
-Bill Gale, The Providence Journal
"Tough, well-written and acted. Mothergun is ‘in your face’ theatre . . . It has a lot to say in a short time."
-Don Fowler, Warwick Beacon
"The most wrenching aspect of the play is a wild child soldier…Murderously happy, playing his stick rifle like a lethal air guitar… there’s a kind of innocence in how purely savage he has been trained by war to be. The character provides theme and coda to a successfully sustained cymbal crash of this short play. It’s fascinatingly written and performed."
-Bill Rodriguez, The Providence Phoenix
"A toe-curling vision of hell, set in a very contemporary refugee camp."
-Bill Gale, The Providence Journal
"Tough, well-written and acted. Mothergun is ‘in your face’ theatre . . . It has a lot to say in a short time."
-Don Fowler, Warwick Beacon
Feature Articles and Essays
- “Challenging the “Fetish of the Verbatim”: New Aesthetics and Familiar Abuses in Christine Evans’s Slow Falling Bird.” by Christina Wilson. In Imagining Human Rights in Twenty-First Century Theater: Global Perspectives. ed. F. Becker, P. Hernández, B. Werth. Palgrave MacMillan, 2013.
- “Writ of Habeas Corpus: Christine Evans’s Trojan Barbie.” by Robert Scanlan. Theater Forum Issue 35.
- “10 questions: Take Ten: Christine Evans”. Theatre Washington.
- DC Theater Scene. “UpClose: Christine Evans, Women’s Voices Theater Festival” by Lorraine Treanor
- Critical Stages Feb 2014, Issue 9 “We grow like rings on a tree—outwardly but not radically changing shape” Christine Evans interview about You Are Dead. You Are Here. with Randy Gener
- TCG Circle: “Artist, Immigrant—Christine Evans” by Marcy Arlin